Acdec 17 - Art

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art history

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(p. 6) an academic discipline dedicated to the reconstruction of the social, cultural, and economic contexts in which an artwork was created

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aesthetics

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(p. 6) philosophical inquiry into the nature and expression of beauty

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art criticism

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(p. 6) explanation of current art events to the general public via the press

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formal analysis

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(p. 6) analysis of art that focuses on the visual qualities of the work of art itself

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contextual analysis

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(p. 6) analysis of art that focuses on the context in which the art was created, as well as the context in which the art continues to be consumed

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Pliny the Elder

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(p. 7)
(23-79) ancient Roman historian that analyzed historical and contemporary art in his Natural History

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Giorgio Vasari

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(p. 7)
(1511-74) author & artist that gathered the biographies of past and present Italian artists in The Lives of the Artists

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Johann Joachim Winckelmann

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(p. 7)
(1717-68) German scholar who emphasized a study of stylistic development of art as related to historical context

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Chauvet Cave

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(p. 8) cave in southeastern France that contains paintings dating from c. 30,000 BCE; uses red ochre and black charcoal and depicts animals

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Stonehenge

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(p. 10) megalithic structure on Salisbury Plain in Wiltshire, England, built around 2100 BCE

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ziggurats

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(p. 10) stepped pyramids common to Mesopotamian civilization; functioned primarily as temples, but also served as administrative and economic centers

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hierarchal scale

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(p. 11) scale that uses the status of figures or objects to determine their relative sizes within an artwork

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fractional representation

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(p. 11) artistic technique in which each part of the body is shown as clearly as possible; typical of ancient Egyptian art

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Doric

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(p. 12) style of Greek column with a shaft and very simple capital

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Ionic

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(p. 12) style of Greek column with a shaft, base, and capital

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Corinthian

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(p. 12) style of Greek vase painting with figures against a floral, ornamented background; also a highly decorated style of Greek columns

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contrapposto

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(p. 13) counter-positioning; a technique in sculpture in which weight is shifted to one leg for a relaxed, naturalistic appearance

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concrete

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(p. 14) a strong stonelike material invented by the Romans

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arch

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(p. 14) a curved structure

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mosaic

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(p. 14) art form in which small ceramic tiles, pieces of stone, or glass are set into a ground material to create a large mural

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barrel vault

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(p. 15) a tunnel of arches

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vault

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(p. 15) an arch-shaped structure used as a ceiling or as a support to a roof

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ribbed vault

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(p. 15) vault with a framework of thin stone ribs or arches built under the vaulted sections of the ceiling

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flying buttresses

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(p. 15) additional bracing material and arches placed on the exterior of a building

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linear perspective

or

single vanishing point persepective

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(p. 16) artistic technique in which the apparent size and shapes of objects and their position in the foreground or background are established by actual or suggested lines converging on the horizon; development credited to Filippo Brunelleschi

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aerial perspective

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(p. 16) artistic technique of rendering depth or distance by modifying the tone or hue

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sfumato

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(p. 17) "smoke", the use of mellowed colors and a blurred outline

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Mannerism

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(p. 18) artistic style popular in the late 16th century; characterized by distortion of perspective or scale, use of acidic colors, and twisted positioning of subjects

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chiaroscuro

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(p. 18) dramatic contrasts of light and dark

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Reformation

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(p. 18) Protestant movement that criticized opulence and corruption of the Catholic church

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Counter-Reformation

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(p. 19) Catholic reaction to the Protestant Reformation in which lavish decoration and art became more emphasized

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oil paints

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(p. 19) paint made of pigment ground in oil

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Baroque

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(p. 19) artwork produced from the late 16th through mid 18th century; characterized by sense of movement and energy, appealing largely to the emotions

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Academy

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(p. 21) Academie Royale de Peinture et de Sculpture; organization established by Louis XIV that imposed aesthetic standards and principals of taste

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Rococo

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(p. 21) artistic style that celebrated court life; emphasizes light-hearted decoration, use of gold and pastel colors

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Neoclassicism

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(p. 21) artistic style that hearkens back to the art of classical Greece and Rome; characterized by sharp outlines, unemotional figures, and careful geometric composition

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Romanticism

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(p. 22) artistic style that tends towards the imaginative and emotional and dreamlike qualities; characterized by incorporation of exotic or melodramatic elements, often taking natural wonders as subject matter

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Realism

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(p. 22) artistic style that arose as a reaction to Neoclassicism and Romanticism; characterized by the illustration of all features - including negative ones - and use of ordinary people

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Impressionism

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(p. 23) artistic style that grew out of dissatisfaction with the rules of the Salon; emphasizes bright, contrasting colors; rapid brush strokes; depiction of light

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Post-Impressionists

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(p. 24) artists of the late 19th century that searched for a more brilliant use of color

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Pre-Raphaelites

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(p. 24) group of English artists dissatisfied with the effects of Industrial Revolution that attempted to return to simpler forms of pre-Renaissance art

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Art Nouveau

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(p. 24) style of decoration, architecture, and design characterized by the depiction of leaves and flowers in flowing, sinuous lines

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arbitrary color

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(p. 25) color used in a piece of art that doesn't replicate color as seen in the natural world; color chosen for emotional or aesthetic impact

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fauves

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(p. 25) "wild beasts"; used to describe artists who advocated the use of arbitrary color

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Cubism

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(p. 25) art style developed by Pablo Picasso and Georges Braque that emphasizes showing a scene from multiple vantage points simultaneously; favors abstract forms

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Die Brücke

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(p. 25) German group of artists, including Ernst Ludwig Kirchner and Emil Nolde, that combined arbitrary color with intense feelings

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Expressionism

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(p. 25) artistic movement that attempts to show the inner workings of the mind in visual form

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Der Blaue Reiter

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(p. 25) Expressionist group of artists led by Vasily Kandinsky

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abstraction

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(p. 25) artistic depictions without any pictorial subject

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De Stijl

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(p. 25) artistic style characterized by flat fields of primary color

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Armory Show

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(p. 25) art show arranged by the Barnes Foundation and held from Feb. 17-March 15, 1913; first major showing of modern art in the US

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Dada

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(p. 25) artistic movement that protested against society and ridiculed accepted values and norms

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ready-made

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(p. 26) type of artwork, first pioneered by Marcel Duchamp, in which an ordinary object is presented in a new context

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Surrealists

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(p. 26) artists that attempted to portray the inner workings of the mind in their artworks; includes Salvador Dali, Rene Magritte, and Joan Miro

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Bauhaus

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(p. 26) German school of design that stated that form should follow function and should be true to the material used

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Abstract Expressionism

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(p. 26) art movement that stated that art could be free from the limitations of pictorial subject matter; aimed at the direct personification of feeling with an emphasis on dramatic colors and sweeping brushstrokes

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Action Painting

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(p. 26) type of Abstract Expressionist painting that employed dramatic brushstrokes

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Color Field paintings

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(p. 26) type of Abstract Expressionist painting that featured broad areas of color and simple, often geometric forms

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Pop Art

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(p. 26) art movement that incorporated images of mass culture

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Minimalism

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(p. 26) art movement that sought to reduce art to its barest essentials, emphasizing simplification of form

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Photorealism

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(p. 27) art style in which a hyper-real quality results from the depiction of the subject matter in sharp focus

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Earthworks
OR

environmental art

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(p. 27,39) art movement that states that landscape or architecture can be packaged; artwork tends to redefine the space in which it is installed

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Performance Art

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(p. 27) a combination of theater and art in which the artists themselves become the work

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Postmodernist

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(p. 27) art style that tends to either reintroduce traditional elements or exaggerate modernist techniques by using them in the extreme

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line

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(p. 32) the path of a point moving through space

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shape

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(p. 32) the two-dimensional area of an object

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form

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(p. 32) a three-dimensional object with length, width, and depth

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space

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(p. 32) the organization of objects and the areas around them

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color

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(p. 32) element of art consisting of hues and neutrals

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texture

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(p. 32,34) how things feel or how we think they would feel if touched

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positive shape

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(p. 32) the area occupied by objects, shapes, or forms in an artwork

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negative shape

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(p. 32) the area around objects, shapes, or forms in an artwork

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hue

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(p. 33) the name of a color

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color wheel

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(p. 33) the organization of hues into a visual scheme

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value

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(p. 34) the lightness or darkness of a color or of a grey

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neutrals

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(p. 34) black and white

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intensity

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(p. 34) the brightness or purity of a color

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local color

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(p. 34) the true color of an object or area as seen in normal daylight

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optical color

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(p. 34) the effect that special lighting has on the color of objects

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composition

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(p. 34) an artist's organization of the elements of art

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rhythm

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(p. 34) artistic principle associated with movement or pattern

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motif

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(p. 34) a single element of a pattern

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pattern

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(p. 34) the repetition of an element (color or line) or a motif within a work of art

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balance

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(p. 35) the equal distribution of visual weight in a work of art

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approximate symmetry

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(p. 35) balance with slight variation on either side of the central axis

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asymmetrical balance

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(p. 35) a visual balance achieved through the organization of unlike objects

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focal point

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(p. 35) point where the eye tends to rest

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proportion

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(p. 35) the size relationships among the parts of a competition

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scale

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(p. 35) the dimensional relation of the parts of a work to the work in its entirety

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shading

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(p. 36) technique used to change values

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hatching

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(p. 36) placing lines closely side by side in order to create shading

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crosshatching

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(p. 36) process of crisscrossing lines to create shading

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stippling

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(p. 36) process of creating shading by using dots with varying distances between them

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screen prints

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(p. 37) artworks created by having a photograph or other image transferred or adhered to a silk or synthetic fabric stretched onto a frame, which then serves as a stencil for ink

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relief printmaking

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(p. 37) printmaking in which the artist cuts away parts from the surface of a plate, causing the remaining parts to stand out in relief

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intaglio printmaking

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(p. 37) printmaking in which the artist incises lines onto the surface of plate

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engraving

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(p. 37) process in which carving tools cut lines into the surface of a plate

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etching

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(p. 37) intaglio process in which a layer of wax or varnish is applied to the surface of a metal plate, which is then immersed in acid, eating away at the exposed metal

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lithography

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(p. 37) printmaking process in which the image is drawn with a waxy pencil or crayon directly onto a plate; the image is hardened and the plate is saturated with water, causing ink to adhere only to the greasy image, which is then picked up on paper when the plate is moved through a press

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pigments

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(p. 37) finely ground materials, which may be natural or synthetic, that create the hue of paint

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binders

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(p. 37) element of paint that holds the grains of pigment together and allows the paint to adhere to a surface; examples are egg yolks, linseed oil, and wax

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solvents

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(p. 37) elements of paint that can be added to change the consistency of the paint or alter its drying time

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fresco

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(p. 37) painting technique in which the paint is applied to wet plaster (buon fresco) or dry plaster (fresco secco)

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tempera

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(p. 38) water-based paint that dries quickly

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glazes

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(p. 38) thin transparent or semi-transparent layers applied over another color to alter it slightly

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impasto

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(p. 38) surface created by applying oil paints thickly or in heavy lumps

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encaustic

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(p. 38) wax-based paints fused to the surface via hot irons, used in ancient Egypt

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gouache

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(p. 38) water-based opaque paints, of higher quality than tempera

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watercolor

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(p. 38) transparent water-based paint

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acrylic paint

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(p. 38) versatile paints made from synthetic materials

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freestanding

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(p. 38) sculpture that is not attached to a surface

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reliefs

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(p. 38) sculptures attached to a surface or carved into the structure itself

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carving

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(p. 38) sculpture process in which some of the original material is removed

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modeling

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(p. 38) sculpture process in which a soft, workable material is added to a surface

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cast form

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(p. 38) a plaster form created by encasing an original form; used as a mold to create more casts of the original object

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collage

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(p. 39) mixed media in which an artist combines various materials such as photographs, papers, tickets, or any other materials that can be adhered to a surface

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assemblages

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(p. 39) mixed media pieces that use two- and three-dimensional found objects in their compositions

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slip

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(p. 40) liquid clay used to join seams

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post-and-lintel construction

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(p. 40) architectural technique in which a long stone or wooden beam (lintel) is placed horizontally across upright posts