Test 2 Study Guide PDF

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Study guide for test 2 in ART 200....

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Art in Context 200 Fall ‘18 Test 2 Study Guide For each of the terms below, Know the definition, artwork, medium, artist ,and title. Chapter 4 Line: defined as path of a moving point ● contour: record boundaries and define more specifically what shapes represent ● Outline: defines 2D shapes Ex. Keith Haring, Untitled, vinyl paint on vinyl tarpaulin. Uses line to show the borders of form and convey direction and motion. Hidden Relief, Sarah Sze, installation, mixed media ● Vertical lines = seem assertive and denotes growth and strength ● Horizontal lines = appears calm ● Diagonal Lines = most dramatic and implies motion ● Direction and movement Aquila, Abruzzi, Italy (Henri Cartier-Bresson), Photograph The Biglin Brothers Racing (Thomas Eakins), oil on canvas The Raft of the Medusa (Theodore Gericault), oil on canvas The Sun and the Moon (Elizabeth Murray), oil on panel mounted on wood ● Implied lines = dotted lines and directional cues, creating a line of sight The Embarkation for Cythera (Jean Antoine Watteau), oil on canvas The Three Crosses (Rembrandt), Etching, expressive lines The Starry Night (Van Gogh), oil on canvas, expressive lines ● Grid/pattern = vertical and horizontal lines crossing , lends a sense of unity to a composition ● Line orientation Study for The Death of Sardanapalus (Eugene Delacroix), oil on canvas Shape and Mass: shape is 2d form that occupies an area with identifiable boundaries Mass is 3d form that occupies a volume of space with identifiable boundaries ● Geometric shapes = mathematically defined ● organic shapes = irregular and suggests forms found in nature ● Figure = positive space/foreground ● Ground = negative space, background ● implied shapes = helps unify compositions, creates a sense of order The Raven and the First Men (Bill Reid), laminated yellow cedar Chanter (Emmi Whitehorse), oil on paper The Madonna of the Meadows (Raphael), oil on panel

Light: fundamental purpose of light is to show us the material world, helps understand forms and spatial relationships (actual, illusionistic, implied) ● Value = relative lightness/darkness ● Modeling = using chiaroscuro/values to create mass ● Chiaroscuro = italian for light/dark, contrasts of light and shadow ● Stippling = closely spaced dots ● Hatching = closely spaced parallel lines ● Cross-hatching = parallel lines intersected like a checkerboard D-N SF 12 PG VI 14 (Doug Wheeler), installation, reinforced fiberglass Judith and Maidservant with the Head of Holofernes (Artemisia Gentileschi, oil on canvas La Visita (Manuel Alvarez Bravo), gelatin silver print The Virgin and Saint Anne with Christ Child (da Vinci), charcoal on brown paper Untitled (Charles White), etching Color: color wheel, color theory, primary/secondary/intermediate colors ● reflected/refracted light = color wheel based off of refracted colors through prism, reflected back to what colors we see ● Monochromatic = variations of same hue ● simultaneous contrast = also called an afterimage ● Pointillism = appling dots of pure color that are then mixed by our eyes to produce illusion of color mixtures ● Hue = name of color ● Intensity = relative purity of colors ● Tint = adds white ● Shade = adds black ● Additive = colors of light mixed ● Subtractive = pigments of different colors In Bed (Inka Essenhigh), oil on canvas The Site (Diana Cooper), plastic/vinyl/felt/acrylic paint, paper Evening (Georges Seurat) Oil on canvas Nocturne in Blue and Gold (James Abbott McNeill Whistler) oil on canvas The Scream (Edvard Munch) tempera and casein on cardboard Texture and Pattern: perceived surface qualities ● Actual texture = tactile experience ● visual texture = illusionary experience Dormiente (Mona Hatoum) mild steel Blond Negress, bronze, marble, limestone, oak Still Life with Glass Goblet and Porcelain Bowl (Willem Kalf) oil on canvas Space: interacts with other visual elements and helps give them definition (negative and

positive) ● picture plane = 2d space, illusion of negative and positive space ● perspective (linear, 1-point, 2-point, atmospheric,) ○ Linear one point = one vanishing point ○ Linear two point = two vanishing points ○ Atmospheric = objects appear bluer and paler further into atmosphere and becomes indistinct ● Foreshortening = effect of linear perspective when applied to object and human forms with art Deliverance, Steve Dibenedetto, colored pencil and acrylic paint on paper Francesco di Giorgio Martini, Architectural perspective, furniture decoration on poplar wood The Last Supper, Leonardo Da Vinci, fresco Place de l’Europe on a Rainy Day, Gustave Caillebotte, oil on canvas The Groom and the Witch, Hans Baldung Grien, woodcut Draftsman Drawing a Reclining Nude, ALbrecht Durer, woodcut Lake George, John Frederick Kensett, oil on canvas Autumn Colors among Streams and Mountains, Shen Zhou, ink on paper The Siege of Belgrade, ink and opaque colors on paper Time and Motion: ● kinetic art = greek word for moving, art that actually moves Southern Cross, Alexander Calder, sheet metal, rods, bolts, paint Inside Out, Richard Serra, Weatherproof steel Soundsuits, Nick Cave Dervish, Jennifer Steinkamp, Video installation Chapter 5 Composition = organization of all visual elements within a work of art Unity and Variety = unity is a sense of oneness, things belonging together and makes up a coherent whole. Variety is differences that provide interest and contrast ● Visual = based on using visual elements ● Conceptual = created through tying a group of ideas together Memory of Oceania, Henri Matisse, gouache on paper, charcoal on paper Infinity Nets AOWFA, Yayoi Kusama, acrylic on canvas Mes Voeux, Annette Messager, photographs, handwritten texts, twine Balance = refers to even distribution of weight in a composition ● Visual Weight = apparent heaviness or lightness in a composition of work ● Symmetry = mirror image of shapes/form, elements correspond to one another ● Asymmetry = composition lacks symmetry and can still be balanced of sides possess

visual weight ● relieved symmetry = slight differences between axial areas of a work of art Red Cube, Isamu Noguchi, steel painted red Reflectwo, Haruka Kojin, artificial flower petals, acrylic, string Taj Mahal Deer’s Skull with Pedernal, Georgia O'Keeffe, oil on canvas Las Dos Fridas, Frida Kahlo, oil on canvas Death and Life, Gustav Klimt, oil on canvas The Zen Priest Choka, Nonomura Sotatsu, hanging scroll ink on paper The Burning of the Houses of Lords and Commons, Joseph Mallord William Turner, oil on canvas A Bar at the Folies-Bergere, Edouard Manet, Oil on canvas Emphasis and Subordination = emphasis is when viewer’s attention is centered more on certain parts of the composition than others. Subordination is the less visually interesting area. ● Focal Point = specific spot to which one’s attention is directed The Banjo Lesson, Henry Ossawa Tanner, oil on canvas Still Life with Compotier, Pitcher and Fruit, Paul Cezanne, oil on canvas Executions of the Third of May, Francisco de Goya, oil on canvas Scale and Proportion = scale is size in relation to a constant or normal size. Proportion refers to size relationship between parts of a whole or between units ● Hierarchical Scale = using size change to indicate relative importance Plantoir, Claes Oldenburg and Coosje van Bruggen Delusions of Grandeur II, Rene Magritte, oil on canvas Standing Woman, Ron Mueck Royal altar to the hans, Benin Study of Human Proportions according to Vitruvius, pen and ink Rhythm = based in repetition and basic part of our world ● Repetition Storm King Wavefield, Maya Lin, earth and grass Painted Fans Mounted on a Screen, Tawaraya Sotatsu, folding screen with gold and silver on paper Landscape with Yellow Birds, Paul Klee, watercolor and gouache on paper Facade of Sant’Andrea, Leon Battista Alberti Chapter 6 Collage = french word meaning pasting or gluing, refers to technique of attaching actual objects to a support Papyrus = made from plant fibers, beaten to a pulp, mixed with water, and layed to dry

Paper = originated as papyrus, invented by Chinese, popular drawing surface pigment and binder = pigment is the color. Binder is the substance that allows it to be shaped Ground = preliminary coating Wash = ink diluted with water and applied with a brush, to give greater solidity Dry media ● Graphite = soft crystalline carbon combined with clay and encased in wood, slight sheen, pencils ● Metalpoint = thin silver wire set in holder, specially prepared ground, leaves trail of metal particles that tarnish to pale gray, lines can’t be erased ● Charcoal = charred wood, opposite of metalpoint, burned sticks of wood, can be thick/thin, faint/dark, very hard/very soft ● Pastel = pigment bound with non-greasy binder Liquid media ● Pen and ink = very fine particles suspended in water, binder like gum arabic holds particles together ● Brush and ink = difficult to define paintings and drawings ● Drawing and beyond = paper as a medium, collages ● Collage “51 Ways of Looking” - Shahzia Sikander, pencil on paper “Star of Bethlehem and Other Plants” - Leonardo da Vinci “Untitled (Full Color Butterfly 772) - Mark Grotjahn, colored pencil on paper “Prince among Thieves with Flowers” - Chris Ofili, pencil on paper “Figure Studies: Standing Nude and Seated Man Reading” - Filippino Lippi, metalpoint with white gouache “Three Mile Island, Night I” - Yvonne Jacquette, charcoal on paper “Cafe-concert” - Georges Seurat, conte crayon “The Singer in Green” - Edgar Degas, pastels “Cottage among Trees” - Rembrandt, pen and ink “Still Life on Table: Gillette” - Georges Braque, collage Chapter 7 Pigment = color that is suspended Gesso = mixture of white pigment and glue applied to a support as the ground for the painting Glaze = thin layers of translucent color applied over opaque paint Impasto = italian word meaning paste, thick/highly textured application of paint Medium or vehicle = thinner that allows paint to flow more readily, water or oil based Support = painting surface Ground = creates a smoother surface, preliminary layer Binder = anchors pigment to support Fresco secco = dry fresco, dry plaster surface buon fresco = true fresco which applies pigment and water to a wet lime plaster surface, has to

work quickly cartoon = full-size drawing of entire project Conservation = maintaining/restoring works of art to original conditions Nonaqueous = made from or with with a liquid other than water Encaustic = oldest painting medium, combines pigment with hot wax and resin, greek word for “burning in” Fresco = mixes pigment with water and applied to plaster support Tempera = uses an emulsion as a vehicle consisting of an aqueous liquid with an oil/fat/wax/resin Oil = european painters realized more versatile than tempera, creates subtle shading, more realistic painting, thinned with turpentine, binder is linseed oil, glazing creates luminous quality Watercolor, gouache = pigment in a vehicle of water and gum arabic, transparency Acrylic = synthetic vehicle is acrylic resin, polymerized through emulsion in water, dries very quickly and permanent Painting and beyond = traditional easels, painting without paint, painting on walls/floors, Painting without paint = different medias Mosaics and tapestries The Art of Painting, Giorgio Vasari, Fresco Self-Portrait as the Allegory of Painting, Artemisia Gentileschi, oil on canvas Mummy Portrait of a Man & Young Woman with a Gold Pectoral, Fayum, encaustic on wood Numbers in Color, Jasper Johns, encaustic and collage on canvas The School of Athens, Raphael, Fresco The Mixtec Culture, Diego Rivera, Fresco Lamentation, Giotto, fresco The Glorification of St. Ignatius, Fra Andrea Pozzo, ceiling fresco St. Anthony Abbott Tempted by a Heap of Gold, Master of the Osservanza, tempera and gold on wood In many of the communities the Negro press.., Jacob Lawrence, tempera on composition board Primavera, Sandro Botticelli, tempera on a gesso ground on poplar panel A Goldsmith in His Shop, Petrus Christus, oil on wood Nut, Amy Sillman, Oil on canvas New Refrigerator, Antonio Lopez Garcia, oil on canvas Mountain Stream, John Singer Sargent, watercolor and graphite The Jungle, Wilfredo Lam, Gouache on paper Mountains Clearing After Rain, Zhang Daqian, Hanging scroll ink and color on paper Mariposa, Beatriz Milhazes, acrylic on canvas

One Floor Up More Highly, Katharina Grosse, installation, Black Venus, Mark Bradford, billboard paper, photomechanical reproduction, acrylic gel, carbon paper, mixed media Algo, Channing Hansen, wool/bamboo/silk/cedar...