2-D Art Final

Front 1

Nonfigurative art comprised of two basic schools.

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Abstract art

Front 2

Art that is highly distorted but the image still has recognizable forms

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Semi-abstraction

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Art that totally lacks any pictorial information

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Pure-abstraction

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The dominant school in painting in the 50's advocated by Pollack and DeKooning

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Abstract Expressionism

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A concern with artistic qualities; relates to or deals with that which is "beautiful"

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aesthetics

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A symbolic or narrative work of art in which there are participating personages or objects that are disguised components for a hidden theme, usually moralistic.

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allegory

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Invented shape that does not have a direct relation to an already known shape.

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amorphous

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Hues that are closely related on the color wheel and have a common hue.

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analogous colors

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Relating to architecture and its theories; strong structural qualities in art.

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architectonic

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A 3-D work of art constructed from diverse materials

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assemblace

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Elaborate and theatrical forms and compositions; an era that ran from the 17th century until the middle 18th.

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Baroque

Front 12

Two greatest artists of the Baroque Era: ________ and ________

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Rubens and Rembrandt

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To equalize a design so that it works as a whole.

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balance

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The art of handwritten word that form letters/numbers.

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calligraphy

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In painting, a full-scale drawing created as a finished study before the painting is started

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cartoon

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Stressing a high contrast of highlights and deep shadow passages in a drawing/painting to accentuate the illusion of light and 3-D

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charoscuro (also Tenebrism)

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The proximity of a shape bound by another shape or the frame of reference.

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closure

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Work that is made up in large part with bits of paper, cloth, or other materials to create images.

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collage

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Objective translation of color as perceived in natural sunlight. Monet was the master of this.

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local color

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Objective interpretation of color as perceived from a light source that is not pure (candle, etc.)

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optical color

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Color that is non-literal and based upon an emotional or aesthetic response but imagery is recognizable.

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arbitrary color

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Colors used within a non-figurative work that are used for theoretical, aesthetic and/or emotional reasons.

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abstract color

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Color as a metaphor for another idea; often cultural (white=purity, green=jealous, black=death etc.).

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symbolic color

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Color that effects our emotions by means of certain hues, values and intensities.

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psychological color

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Hues that are directly opposite on the color wheel (blue-orange, etc.)

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complimentary colors

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Pose of the human form in an "S" shape; humanistic view developed by the Greeks.

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contrapposto

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All forms in nature can be reduced to geometric equivalents; it is possible to represent multiple angles of a figure simultaneously.

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cubism

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What are the six C's?

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concept, content, composition, color, craft, creativity

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Areas within a composition that have a greater importance

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dominance

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Relating to religious imagery

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Ecclesiastical

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To use a certain area or character within a work that will be the primary focus by its position or a brighter color, etc.

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emphasis

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Primary shapes (characters) in a composition that can be seen as positive space.

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figures

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Perspective as it applies to the representation of objects by which the lines are shortened and the shapes condensed to give a strong sense of forms extending into space.

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foreshorten

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Theme in art that depicts everyday life made popular by the 17th century Dutch and Flemish and reinvigorated by the French Impressionists.

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genre

Front 35

Two French Impressionist artists: _______ and __________

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Degas and Cassatt

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Idea that "the whole is greater than the sum of its parts".

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Gestalt theory

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Technique used to unite/overlap a series of shapes to form a larger unit.

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grouping

Front 38

The proper name for color that defines color in the visible spectrum (red, orange, yellow, etc.)

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hue

Front 39

Example of a hue: ______

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red, orange, yellow, green, blue, violet

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Being opposed to the representation of consecrated individuals or pictorial definition of events in religious art.

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Iconoclast

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Using objects, personages, or other forms as a symbolic metaphor; tells a deeper story than what a literal reading of the forms might state.

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Iconography

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19th century art movement of genre scenes and landscapes that painted the effects of sunlight with free application of pigment based on general theories of physics.

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Impressionism

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The master of Impressionism: _____

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Monet

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Defines the purity of a given color, whether it is bright or dull. Defines how pure a hue is in relationship to its place in the spectrum.

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intensity

Front 45

Name the five properties of a line.

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measure, type, direction, location, character

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Name the two types of composition arrangement.

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macroscopic and microscopic

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Composition that contains all visual information.

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macroscopic

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Composition that crops information with the frame of reference.

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microcomposition

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A revival of the formalist ideas of the ancient Greeks and renewed by Renaissance artists; relates to many later artists who returned to these classic formalistic visual ideas.

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Neo-classical

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A 16th century style of art that departed from the formalism of the Renaissance in favor of more emotional qualities and distorted figures in paintings.

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mannerism

Front 51

The repetition of similar design unites in a recognizable and distinct order.

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pattern

Front 52

This gives paint its color; combined with a binder (oil, acrylic, etc).

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pigment

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The placement of important figures within a composition.

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position

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The primary area within a picture that can be seen as a distinct figure or area of interest.

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positive space

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The background of a composition.

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negative space

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General term for the period of art that followed Impressionism that saw diverse stylizations from the more formalistic investigations of Cezanne to the highly personal and expressionistic styles of Vincent Van Gogh and Paul Gauguin.

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Post-impressionism

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Colors that cannot be created by mixing other pigments but form secondary colors when mixed.

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primary colors

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A style of art that is primarily concerned in objectively and accurately defining forms in a literal manner.

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realism

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Area that is the boundary of a painting/drawing.

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frame of reference

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Last stage of the Baroque period in the mid-18th century that used lighter and more playful immagery.

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rococo

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An emotionally based style of the 19th century that created passionate images filled with exotic and dramatic themes.

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Romanticisim

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A major artist of the romanticism style.

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Eugene Delacroix

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A distinct area within a composition that can be defined by either an outline or through a shift of color, value, or texture.

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Shape

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List the three categories of shape.

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geometric, bimporhic, amorphic

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Archictectonic shapes; ex: square, circle, and triangle.

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geometric shapes

Front 66

What's the name for organic shapes?

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bimorphic shapes

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Intensified divergence that results when two different hues, values, intensities or temperatures come into direct opposition.

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simultaneous contrast

Front 68

List the five basic ways to use the theory of simultaneous contrast.

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complimentary colors, triadic compliments, intensity contrast, value contrast, temperature contrast

Front 69

Works that present bizarre paradoxes where the pictorial description of known objects or formations are placed in irrational or unpredictable situations.

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surrealism

Front 70

Name two major figures of the Surrealistic Movement.

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Dali and Margritte

Front 71

An equally balanced design where the corresponding units on one side of a design are the same as those on the other, or very close.

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symmetry

Front 72

Deals with whether a color appears warm or cool.

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temperature

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Feeling in a composition that is created from placing figures in a way that forms a strained relationship.

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tension

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To create the illusion of a known texture such as wood grain, fur, etc.

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artificial texture

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To collage literal textural matter to the work of art.

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actual texture

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French for "fool the eye". A highly illusionary style of art that reproduces surface facts with such fidelity that the viewer thinks they are real.

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trompe-l'oeil

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Preliminary stage of a painting usually done in a monochromatic palette; basis for the future painting.

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underpainting

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In composition, the use of similar shapes, colors, etc. to create a sense of visual harmony.

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unity

Front 79

An allegorical still life in which the objects serve as symbols for a hedonistic (pleasure seeking) life.

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vanitas

Front 80

In composition, the use of disparate shapes, colors, etc. to create visual diversity.

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variety

Front 81

A well designed composition will have what three things?

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balance, unity & variety

Front 82

How light or dark a given hue is.

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value

Front 83

When we lighten a hue, it is called a: ______.

When we darken a hue, it is called a: ______.

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tint; shade

Front 84

The space filled by a 3-D figure or object.

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volume

Front 85

List the four main types of lines.

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gesture, contour, calligraphic, tonal

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The technique of blending pigments while they are still wet.

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wet into wet

Front 87

The gelatinous application of pigment allowing the physical quality of the brush stroke to be seen.

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impasto

Front 88

This is a "dry brush" technique where the artist has little pigment on the brush and lightly applies the pigment letting the color underneath show through.

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scumbling

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A thin layer of pigment is placed over an already dry area of paint.

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glazing

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The technique of scratching through freshly applied pigment exposing the color underneath.

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scraffito

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Objects of the same size appear to get smaller as they get farther from the viewer.

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diminution

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Parallel lines appear to close in on each other as they recede in space.

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convergence

Front 93

List the three components of color.

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hue, value, intensity