Visual Art 1-7

Chapter 1-7 of visual arts

Artist (three defintions) (chapter 1)

1. A person who produces paintings or drawings as a profession hobby. 2) A person who practices any of the various creative arts, such as a sculptor, novelist, poet, or filmmaker. 3) A person skilled at a particular task or occupation.

Artist do what... (4 things) (chapter 1)

1. Artist help us to see the world in a new and innovative way. 2) Artist make a visual record of the people, places, and events of their time and place. 3) Artist make functional objects and structures (such as buildings) more pleasurable and elevate them with meaning. 4) Artist give form to the immaterial such as hidden truths, spiritual forces and personal feelings.

The process of physically seeing (3 step process) (chapter 1)

Reception (we see it) > Extraction (we take from it) > Inference (we deduce or draw conclusion about it)

Everything we see is... (chapter 1)

filtered through a long history of fears, prejudices, desires, emotions, customs and beliefs.

Through art, we can begin to understand how our world is filtered and... (chapter 1)

learn to look more closely at the visual world.

Six major themes that both inspire the create of art and that influence how we interpret art (chapter 1)

1. Politics and Commentary 2) Spiritual Belief 3) The Passage of Time 4) Beauty 5) Gender and Identity 6) Science and the Environment.

Both images and words can refer to _______, but they aren't ______ themselves (chapter 2).

things that we see, things

Art is open to ________, even if one doesn't __________ (chapter 2).

individual interpretation; know precisely what the work expresses

The ________ often barely hints at the ________ (chapter 2).

subject matter of the work (what the images literally depicts); complexity of its content (what the image means)

Generally, art works fall into three major categories (chapter 2).

Representational, Abstract, and Nonrepresentational.

Representational means (chapter 2)

That the art is protrays a natural object in a reasonable form.

Abstract means (chapter 2)

The art resembles less of real things, but objective things.

Nonrepresentational means (chapter 2)

That a work doesn't refer to the natural or objective world at all.

Nonobjective or nonrepresentational mean (chapter 2)

Are works of art that don't refer to natural or objective world at all. They are primarily considered with questions of form.

Composition means (chapter 2)

The organization of the formal elements in a work of art.

Form means (chapter 2)

The literal shape and mass of an object in a figure

Content means (chapter 2)

The meaning of an image, beyond its overt subject matter (as opposed to form).

Our understanding of any artwork is highly dependent on one's understanding of its _____ context (chapter 2).

cultural

____ is defined by shared values, beliefs and practices by an identifiable large group of people with a common history, and they have visible ___________ (chapter 2).

Culture, surface differences.

Cultural conventions are often carried forward from one generation to the next by means of _______ (chapter 2).

iconography

Iconography meaning (chapter 2)

It's a system of visual images in which the meaning is understood by a given culture or cultural group.

These visual images are _____. That is, they represent something more than their literal meaning (chapter 2).

symbols

The _______ or iconographic images is not obvious to any viewer unfamiliar with the symbolic system in use (chapter 2).

subject matter

Furthermore, every _____ has its specific iconographic practices and its own system of images that are understood by the culture at large to mean specific things (chapter 2).

culture

Art, like beauty is often "_______" (chapter 3).

in the eye of the beholder.

Public debate, issues of ______ and ______ of art are often determined by what the _____ and _____ deem as artistic or obscene (chapter 3).

censorship, public funding, public, or government.

Art has proven to have both a _______ value and a worth based on ______ and an individual's _______ of it (chapter 3).

monetary, cultural impact, and aesthetic appreciation.

The artist's ______ to the public often depends on the public's understanding of what the artist is trying to say (chapter 3).

relation.

The history of the public's ________ of art bounds with instances of the public's misunderstanding or failure to ________ work that is hailed by later ________ (chapter 3).

reception, appreciate, generations.

Example of works that created public controversy when they where first exhibited for public viewing (2 works of art) (chapter 3).

Luncheon on the Grass by Manet, and Nude Descending a Staircase by Duchamp.

What year was NEA first funded, and what's their goal (chapter 3) (two questions combined)?

The NEA was funded in 1967, and it's goal was to expose communities to "advanced" arts.

The Public Places Program was ... ,and is conceived as what (chapter 3) (two questions combined)?

1. Initiated and was followed by state and local programs nationwide that usually required one precent of the cost of new buildings to be dedicated to purchasing art to enhance their public places. 2) The Arts in Public Program was conceived as a mass-audience art appreciation course.

What does the Public Places Programs and the NEA do that past artist couldn't (chapter 3)?

These programs make everyone potentially a part of an artist's audience.

The NEA has funded what since it's creation (chapter 3)?

It's been funding public sculptures since 1967.

Some artist have earned ______ after an initial ______, such as Calder's Le Grand Vitesse (chapter 3).

strong public support, negative reaction.

Why does the public have a hard time accepting public art projects (chapter 3) (one answer)?

Not all public art projects are ascetically pleasing.

Michelangelo's master piece David also received a _______ when it was first unveiled to the public in Florence, Italy in 1504 (chapter 3)

negative reaction

Line definition (chapter 4)

A line is used to indicate the edge of a two dimensional, flat shape or a three-dimensional form.

Contour line definition (chapter 4)

A perceived line that marks the border of an object in space.

Lines can... (chapter 4) (5 answers)

1. divide one thing form another or they can connect things. 2) be thick or thin, long or short, smooth or agitated. 3) reflect movement in nature, such as the patterns of animal and human movement across landscapes that are traced in paths and roadways. 4) delineates shape and form by means of outline and contour line. 5) possess intellectual, emotional, and expressive qualities.

Implied lines create... (chapter 4)

a sense of enclosure and connection as well as movement and direction.

__________ that emphasize the horizontal and vertical tend to possess an architectural stability (chapter 4).

Linear arrangements

The works of linear arrangements tend to be defined by _____, _____, and a sense of ______ (chapter 4).

mathematical, rational, calm

Works of linear arrangements differ from those works that stress ______, which by contrast inspire the viewer's instinctive reactions (chapter 4).

Expressive qualities.

The use of expressive qualities of line, such as in Van Gogh's paintings, is so identifiable in his work, it is regarded as ____. Like a signature, it identifies the artist himself (chapter 4).

autographic

The use of expressive lines is most effective in the ___ century romantic art. The term romantic not only refers to the expressional of love, but also the expression of _________, which are captured in an artwork (chapter 4).

19th, of all feelings and passions.

A _____ is flat and two-dimensional. Its boundaries can be measured in height and width (chapter 5).

shape.

A form or _____, by contrast, is a solid that occupies a three-dimensional volume (chapter 5).

mass.

1. In the simplest terms, the difference between shape and mass is the difference between _______ (chapter 5).

square and a cube.

______ are empty spaces that acquire a sense of volume and form by means of the outline or frame that surrounds them (chapter 5).

negative spaces

Negative spaces can be used to suggest _____ (chapter 5).

forms

___________ is geometric or organic three-parameter space defined by height, width, and depth (chapter 5).

Three-dimensional space.

By means of illusion, a sense of depth, or three dimensions, can be achieved on a ________ (chapter 5).

flat surface.

1. There are many ways to create such an illusion and an artist will often _______ such technique for creating depth in a single work (chapter 5).

use more than one

_____________ is a system that allows the picture plane to function as a window through which a specific scene is presented to the viewer (chapter 5).

Perspective

In ________________, lines are drawn on the picture plane in such a way as to represent parallel lines receding to a single point on the viewer's horizon, called the vanishing point (chapter 5).

one-point liner

When the vanishing point is directly across from the _______ (where the viewer is positioned), the recession is said to be ______ (chapter 5).

vantage point, frontal

If the vanishing point is to one side or the other, the recession is said to be ________ (chapter 5).

diagonal

When there are two vanishing points in a composition, that is when an artist uses _________, a more dynamic composition often results (chapter 5).

two-point linear perspective

In both oblique and axonometric projection, the sides of an object are represented as ______ (chapter 5).

parallel

In ________, one face is parallel to the picture plane as well (chapter 5).

oblique projection

In ___________, all sides of an object are at an angle to the picture plane (chapter 5).

axonometric projection

Modern artists have consistently challenged the utility of _________ and other techniques used to create the illusion of three dimensions on two-dimensional surfaces (chapter 5).

prespective

Often it is precisely the disorienting and chaotic that defines the modern to many artists and systems such as perspective seem to them, to_________ (chapter 5).

present a false sense of order

Atmospheric Perspective is... (chapter 6)

An object's appearance changes depending on how much atmosphere lies between it and the person viewing it.

Chiaroscuro is... (chapter 6)

A technique employed by artists to render the effects of light, referring to the balance of light and shade in a picture.

Modeling is... (chapter 6)

The use of chiaroscuro to represent light falling across a curved or rounded surface.

Highlights is... (chapter 6)

The spots of highest key or value in a picture that directly reflect the light source.

Shadow is... (chapter 6)

The unlighted surface of a form rendered by modeling or chiaroscuro.

Core of the Shadow is... (chapter 6)

The darkest area on a form rendered by means of modeling or chiaroscuro.

Cast Shadow is... (chapter 6)

The shadow cast by a figure that is darker than the shadowed surface itself.

Tenebrism is... (chapter 6)

A heightened form of chiaroscuro that makes use of large areas of dark contrasting sharply with smaller brightly illuminated areas.

Hatching is... (chapter 6)

An area of closely spaced parallel lines employed in drawing and engraving to create the effect of shading or modeling.

Cross-hatching is... (chapter 6)

Employs two or more sets of roughly parallel and overlapping lines, set at an angle to one another, to create a sense of three-dimensional, modeled space.

Tint is... (chapter 6)

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

Shade is... (chapter 6)

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

Spectrum is... (chapter 6)

The bands of different colors that sunlight breaks into when passing through a prism.

Primary Colors is... (chapter 6)

The three colors in a conventional color wheel: red, yellow, and blue.

Secondary Colors is... (chapter 6)

Colors that are mixtures of the two primary colors that they lie between: orange, green, and violet.

Intermediate Colors is... (chapter 6)

Mixtures of a primary color and a neighboring secondary color.

Subtractive Process is... (chapter 6)

A process where different hues of colored pigment are combined, resulting in a mixture that is lower in key and duller than the original hues.

Additive Process is... (chapter 6)

A process where different hues of colored light are combined, resulting in a mixture that is higher in key and brighter than the original hues.

Hue is... (chapter 6)

A color as found on a color wheel.

Intensity is... (chapter 6)

The relative purity of a color's hue and a function of its relative brightness or dullness, also known as saturation.

Medium is... (chapter 6)

A liquid added to paint that makes it easier to manipulate.

Palette is... (chapter 6)

A thin board with a thumb hole at one end, upon which the artist lays out and mixes colors.

Restricted Palette is... (chapter 6)

A palette employing only a few colors.

Open Palette is... (chapter 6)

A palette using the full range of hues.

Analogous Colors is... (chapter 6)

Pairs of colors that are adjacent to each other on the color wheel.

Temperature is... (chapter 6)

The relative warmth or coolness of a given hue.

Complimentary Colors is... (chapter 6)

Pairs of colors that are directly opposite each other on the color wheel.

Simultaneous Contrast is... (chapter 6)

A property of complimentary colors that when placed side by side, result in both appearing brighter and more intense than when seen in isolation.

Polychromatic is... (chapter 6)

A color composition consisting of a variety of hues.

Monochromatic is... (chapter 6)

A color composition limited to a single hue.

Local Color is... (chapter 6)

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.

Perceptual Color is... (chapter 6)

Color as it is perceived by the eye.

En Plein Air is... (chapter 6)

A French expression meaning 'in the open air' used specifically to refer to the act of painting outdoors.

Arbitrary Color is... (chapter 6)

Color that has no realistic or natural relation to the object that is depicted, but may have emotional or expressive significance.

Texture is... (chapter 7)

Texture refers to the surface quality of a work.

Actual texture is... (chapter 7)

Actual texture refers to the real surface quality of an artwork.