.art Appreciation Test #3 Study Guide

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2. Existentialist (Existentialism) (pg. 93) –

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Literary and Philosophical Movement of the early 20th Century, Characterized by Belief that Humans are Free and Responsible for their Actions, which Lead to Humanities Pain and Anguish.

A literary and philosophical movement of the early 20th century characterized by the belief that human beings are free and responsible for their behavior and actions. This freedom, according to proponents Søren Kierkegaard, Jean-Paul Sartre, and Martin Heidegger, leads to humanity’s pain and anguish.

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3. Context (pg. 94) –

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The surroundings, circumstances, environment, background, or settings, which determine, specify, or clarify the meaning of an event (or art). (I found this definition online as there wasn’t a clear definition in the book).

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4. Pop Art (pg. 22) –

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An art style originating in the 1960’s that uses commercial and popular images and themes as its subject matter.

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11. Psychic Automatism (pg. 98) –

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Clearing the Mind of Purpose and Concerns so Inner Conflicts and Ideas can find Expression in a Work of Art

A process of generating imagery through ideas received from the unconscious mind and expressed in an unrestrained manner.

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13. Formalist Criticism (pg. 99) –

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Approach to Art Criticism Concentrating mainly on Elements and Design, Instead of Historical Factors or the Bibliography of the Artist

An approach to art criticism that concentrates on the elements and design of works of art rather than on historical factors or the biography of the artist.

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Chapter 4
Artists:

1. Roy Lichtenstein (pg. 92) –

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“Forget It! Forget Me” (1962) Magna and Oil on Canvas (79-7/8” x 68”)

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2. Henri de Toulouse-Lautrec (pg. 93) –

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“The Two Girfriends” (1894) Oil on Cardboard (48 cm x 4.5 cm)

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3. Robert Mapplethorpe (pg. 93) –

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“Ken Moody and Robert Sherman” (1984) Photograph

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4. Oscar Kokoschka (pg. 94) –

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“The Tempest” (1914) Oil on Canvas (71-1/2” x 86-1/2”)

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***5. Constantin Brancusi (pg. 94) –

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“The Kiss” (1912) Limestone (23” x 13” x 10”)

KNOW THIS IS (Abstract)

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6. Jackson Pollock (pg. 95) –

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“Male and Female” (1942) Oil on Canvas (73-1/3” x 49”)

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7. Barbara Hepworth (pg. 95) –

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“Two Figures (Menhirs)” (1954 - 1955) Teak (H = 54”)

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8. Claude Monet (pg. ) –

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a

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9. Auguste Renoir (pg. ) –

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a

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10. Rembrandt (pg. ) –

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a

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11. El Greco (pg. ) –

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a

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12. Vincent van Gogh (pg. ) –

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a

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13. Grant Wood (pg. 97) –

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“American Gothic” (1930) Oil on Beaverboard (29-7/8” x 24-7/8”)

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14. Donna Rosenthal (pg. 97) –

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“He Said…She Said: Lets Get Physical” (1999) Mixed Media (Suit: 12” x 12”, Dress: 10” x 8” x 8”)

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15. Pablo Picasso (pg. ) –

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a

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16. Georges Braque (pg. ) –

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a

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17. Jacques Lipchitz (pg. 98) –

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Quote on top of page “Copy nature and you infringe on the work of our Lord. Interpret nature and you are an artist.”

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18. Judy Pfaff (pg. 98) –

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“Voodoo” (1981) Contact Paper Collage on Mylar (98” x 60”)

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20. Barbara Kruger (pg. 101) –

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“Untitled (We Don’t Need Another Hero)” (1987) Photographic Silkscreen, Vinyl (109” x 210”)

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21. Sandow Birk (pg. 99) –

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“Death of Manuel” (1992) Oil on Canvass (33” x 25”)

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22. Edgar Degas (pg. 102) –

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Quote on top of page “The artist does not draw what he sees, but what he must make others see. Only when he no longer knows what he is doing does the painter do good things.”

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23. Josef Albers (pg. 102) –

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Quote on top of page “Visual formulation of our reaction to life.”

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24. Andrew Wyeth (pg. 102) –

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Quote towards bottom of page, left column “I prefer winter and fall, when you feel the bone structure in the landscape – the loneliness of it – the dread feeling of winter. Something waits beneath it – the whole story doesn’t show.”

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25. Bronzino (pg. 102) –

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“Venus, Cupid, Folly, and Time (The Exposure of Luxury)” (c. 1546) Oil on Wood (Approximately 61” x 56-3/4”)

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26. Willie Bester (pg. 103) –

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“Semekazi (Migrant Miseries)” (1993) Oil, Enamel Paint, and Mixed Media on Board (49-1/4” x 49-1/4”)

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27. Helen Frankenthaler (pg. ) –

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a

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Chapter 4
Study Questions:

1. Define style, form, and content.

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Style (pg. 92) –

Characteristic Mode of Artistic Expression or Design

A distinctive handling of elements and media associated with the work of an individual artist, a school or movement, or a specific culture or time period.

Form (pg. 99) –

Totality in a Work of Art

The totality of what the viewer sees in a work of art; a product of the composition of visual elements.

(Includes the colors used, textures and shapes, illusion of 3-D, balance, rhythm, or unity of design.

Content (pg. 99) –

Everything Contained in a Work of Art

All that is contained in a work of art; the visual elements, subject matter, and underlying meaning or themes.

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2. What is the difference between realistic and representational art?

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Realistic Art (pg. 95) - Portrayed by Accurate and Truthful Subject Matter (Seen or Viewed through Truth)

Representational Art (pg. 96) - Presents Natural Objects in Recognizable, but Not Realistic, Form

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3. Jacque Louis-David was most likely a(n) ____________ artist?

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a

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4. What is expressionism?

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A modern school of art in which an emotional impact is achieved through agitated brushwork, intense coloration, and violent, hallucinatory imagery.

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5. What is the difference between abstract and non-objective art?

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Abstract (pg. 96) – Art that Departs Significantly from the Actual Appearance of Things

Nonobjective (pg. 96) – Makes No Reference to Nature or Reality

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6. What is one of the best ways to illustrate stylistic differences?

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Choose a group of works with a common theme and challenge ourselves to articulate the similarities and differences between them.

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7. Define drawing.

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The Result of an Implement Running Over a Surface and Leaving Some Trace of the Gesture

The art of running an implement that leaves a mark over a surface; a work of art created in this manner.

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8. What does support mean for drawing?

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A surface on which a 2-D (usually) work of art is made.

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11. What images were created by our primitive ancestors in charcoal?

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a

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12. What culture mastered pen and ink and used it for centuries?

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Have been used since ancient times, and became popular since the middle ages (CANNOT FIND the culture who invented it.)

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13. What is a cartoon…in different eras?

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________ were originally full-scale preliminary drawings done on paper for projects for such things as fresco paintings, stained glass, or tapestries.

They were expanded to include humorous and satirical drawings when a parody of fresco ________ submitted for decoration of the Houses of Parliament appeared in an English magazine in 1843.

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15. What is encaustic and what could it be used for?

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One of the early methods of applying color to a surface. It consists of pigment in a wax vehicle that has been heated to a liquid state.

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16. The painting medium used in the Middle Ages was primarily?

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Tempera

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17. What was the main painting medium for the Byzantine and Romanesque era of Christian art?

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Gouache

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18. What is a collage? Who were the cubist artists that were the 1st to use it?

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An assemblage of 2-D objects to create an image; works of art in which materials such as paper, cloth, and wood are pasted to a 2-D surface, such as a wooden panel or canvas; Picasso and Braque were the 1st to use it.

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19. What is watercolor paint?

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Paint with a water medium. Mixing pigments with a gum binder and thinning the mixture with water usually make ___________.

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20. What are “tags” to the master artist?

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What we consider graffitti.

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21. What is acrylic paint?

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A paint in which pigments are combined with a synthetic plastic medium that is durable, water soluble, and quick drying.

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3. Monochromatic (pg. 106) –

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One-Colored

Literally, “one-colored”; descriptive of images that are executed in a single color or with so little color contrast as to appear uniform in hue.

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4. Linear (pg. 106) –

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Determined or characterized by the use of line.

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5. Dry Media (pg. 108) –

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Drawing materials that do not involve the application of water or other liquids. Contrast with fluid media.

(Can include silverpoint, pencil, charcoal, chalk, pastel, and wax crayon.)

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7. Ground (pg. 108) –

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Surface which 2-D Art is Created; Coat of Liquid Material Applied to a Surface used as a Base for Drawing or Painting; the Background in a Composition

The surface on which a 2-D work of art is created; a coat of liquid material applied to a surface that serves as a base for drawing or painting; also, the background in a composition. Also see figure-ground relationship.

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8. Gum (pg. 108) –

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Sticky Substance used to Bind Pigments

A sticky substance found in many plants, used to bind pigments as found, for example, in silverpoint, chalk, and pastel drawings.

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9. Pigment (pg. 108) –

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Coloring matter that is usually mixed with water, oil, or other substances to make paint.

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10. Pencil (pg. 108) –

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A rod-shaped drawing instrument with an inner shaft that is usually made of graphite.

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11. Graphite (pg. 108) –

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A soft black form of carbon used as a drawing implement (from graphein, Greek for “to write”).

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13. Chalk (pg. 111) –

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A form of soft limestone that is easily pulverized and can be used as a drawing implement.

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14. Pastel (pg. 111) –

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A drawing implement made by grinding coloring matter, mixing it with gum, and forming it into a crayon.

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15. Binder (pg. 111) –

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A material that binds substances together.

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16. Gum Arabic (pg. 111) –

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A gum obtained from the African acacia plant.

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17. Ocher (pg. 111) –

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A dark yellow color derived from an earthy clay.

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18. Umber (pg. 111) –

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A kind of earth that has a yellowish or reddish brown color.

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19. Sanguine (pg. 111) –

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Blood colored, ruddy; cheerful and confident (from Latin for “blood”).

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20. Crayon (pg. 112) –

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A small stick of colored wax, chalk, or charcoal.

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21. Conté Crayon (pg. 112) –

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A wax crayon with a hard texture.

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22. Fluid Medium (pg. 114) –

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Liquid-based drawing materials; fluid is the ink, medium is the pen and brush. Contrast with dry media.

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23. Papyrus (pg. 114) –

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A writing surface made from the papyrus plant.

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25. Pen and Ink (pg. 114) –

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Fluid is Ink, and the Medium is Pen

The primary fluid medium used in drawing is ink, and the instruments used to carry the medium are pen and brush; the earliest ones were hollow reeds that were slit at the ends to allow a controlled flow of ink.

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26. Quill (pg. 114) –

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A pen made from a large, stiff feather.

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27. Nib (pg. 114) –

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The point of a pen; the split and sharpened end of a quill pen.

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28. Stylus (pg. 114) –

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A pointed, needlelike tool used in drawing, printmaking, making impressions on electronic media, etc.

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29. Pen and Wash (pg. 115) –

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Fine, clear lines of pure ink are often combined in drawings with wash, diluted ink that is applied with a brush.

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30. Wash (pg. 115) –

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Diluted Ink Applied with a Brush

A thin, watery film of paint, especially watercolor, applied with even, sweeping movements of the brush.

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31. Brush and Ink (pg. 115) –

Back 75

Brushes come in a Wide Variety of Materials, Ink Application will Differ in Artwork depending on Materials (Bristle or Nylon), Thickness, and Tip

Brushes are available in a wide variety of materials, textures, and shapes that afford many different effects. The nature of a line in brush and ink will depend on whether the brush is bristle or nylon, thin or thick, pointed or flat tipped.

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32. Brush and Wash (pg. 116) –

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Can Duplicate Brush-and-Ink Drawings, also can Produce Tonal Contrasts, Ink can be Diluted to Provide Wide Tonal Range

Can duplicate the linearity of brush-and-ink drawings, but can also be used to create images solely through tonal contrasts. The ink can be diluted to varying degrees to provide a wide tonal range.

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Chapter 5
Artists:

1. Giorgio Vasari (pg. 105) –

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Quote at top of page “Drawing… is the necessary beginning of everything in art, and not having it, one has nothing.”

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2. Rembrandt van Rijn (pg. 106) –

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“Copy of Leonardo da Vinci’s Last Supper” Red Chalk on Paper (14” x 18-1/4”)

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3. Gary Kelley (pg. 107) –

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“Promotion for the Mississippi Delta Blues Festival” (c. 1989) Pastel 24” x 14”

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4. Salvador Dali (pg. 108) –

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Quote at top of page “Drawing is the honesty of the art. There is no possibility of cheating. It is either good or bad.”

Front 81

5. Alphonse Legros (pg. 108) –

Back 81

“Head of a Man” (19th Century) Silverpoint on White Ground (8-3/4” x 7”)

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6. Giorgio de Chirico (pg. 109) –

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“Condottiero” (1917) Pencil (12-3/8” x 8-1/2”)

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7. Alberto Giacometti (pg. 109) –

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“Head” (1946) Pencil (5-7/8” x 4-1/4”)

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8. Adrian Piper (pg. 109) –

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“Self-Portrait Exaggerating My Negroid Features” (1981) Pencil on Paper (10” x 8”)

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9. Käthe Kollwitz (pg. 110) –

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“Self-Portrait” (1924) Charcoal (18-3/4” x 25”)

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11. Michelangelo (pg. 111) –

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“Studies for The Libyan Sybil” (1510 - 1511) Red Chalk (11-3/8” x 8-3/8”)

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12. Jean-Baptiste Carpeaux (pg. 111) –

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Portrait of a Woman (1874) Black Chalk Heightened with White, on Buff Paper (7-7/8” x 5-7/8”)

Front 88

13. Edgar Degas (pg. 112) –

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“Woman at Her Toilette” (1903) Pastel on Paper (30” x 30-1/2”)

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14. Jaune Quick-to-See-Smith (pg. 112) –

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“The Environment: Be a Shepherd” (1989) Charcoal, Colored Chalk, and Pastel (47” x 31-1/4”)

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15. Beverly Buchanan (pg. 113) –

Back 90

“Henriette’s Yard” (1995) Oil Pastel on Paper (60” x 60”)

Front 91

16. Chuck Close (pg. 114) –

Back 91

“Self-Portrait/Conté Crayon” (1979) Conté Crayon on Paper (29-1/2” x 22”)

Front 92

17. Jean Dubuffet (pg. 115) –

Back 92

“Garden” (1952) Pen and Carbon Ink on Glazed White Wove Paper (18-3/4” x 23-3/4”)

Front 93

18. Henri Matisse (pg. 115) –

Back 93

Quote at top of page “Drawing is like making an expressive gesture with the advantage of performance.”

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19. Giovanni Battista Tiepolo (pg. 115) –

Back 94

“Hagar and Ishmael in the Wilderness” (c. 1725 – 1735) Pen, Brush and Brown Ink, and Wash, Over Sketch in Black Chalk (16-1/2” x 11-1/8”)

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20. Katsushika Hokusai (pg. 116) –

Back 95

“Boy Playing Flute” (c. 1800) Ink and Brush on Paper (4-1/2” x 6-1/4”)

Front 96

21. Camille Pissarro (pg. 116) –

Back 96

Quote at top of page “It is only by much drawing, drawing everything, drawing unceasingly that one fine day one is very surprised to find it possible to express something in its true spirit.”

Front 97

22. Leonardo da Vinci (pg. 116) –

Back 97

“Study of Drapery” (c. 1473) Brush, Tray Wash, Heightened with White, on Linen (7-3/8” x 9-1/4”)

Front 98

23. Claude Lorrain (pg. 117) –

Back 98

“Tiber above Rome” (c. 1640) Bush and Wash (18.5 cm x 26.8 cm)

Front 99

24. Honoré Daumier (pg. 118) –

Back 99

“Counsel for the Defense (the Advocate)” (1862 - 1865) Pen and Ink, Charcoal, Crayon, Gouache, and Watercolor (20-3/8” x 23-3/4”)

Front 100

25. Dr. Seuss (pg. 118) –

Back 100

“Cages Cost Money! Buy More U.S. Savings Bonds and Stamps!” Cartoon

Front 101

26. Santiago Calatrava (pg. 119) –

Back 101

Quote on top of page “Drawing is among the most personal things you can do. It doesn’t have any rhetoric or anything to tell. It’s a dialogue between the art and yourself.”

Front 102

27. Robert Jolley (pg. ) –

Back 102

a

Front 103

28. Jackson Pollock (pg. 119) –

Back 103

“Untitled” (1950) Pencil, Duco on Paper (22” x 59-3/8”)

Front 104

29. Margaret Honda (pg. 119) –

Back 104

“Exchange” (2003 - 2004) Vinyl on Mylar, 50 Elements (Dimensions Variable)

Front 105

Chapter 6
Vocabulary:

1. Painting (pg. 121) –

Back 105

The application of a pigment to a surface; a work of art created in this manner.

Front 106

2. Paint (pg. 122) –

Back 106

A mixture of a pigment with a vehicle or medium.

Front 107

4. Medium (pg. 122) –

Back 107

Materials and Methods used to Create Images or Objects in the Arts

The materials and methods used to create an image or object in drawing, painting, sculpture, and other arts (from Latin for “means”).

Front 108

5. Fresco (pg. 122) –

Back 108

The Art of Painting on Plaster

A type of painting in which pigments are applied to a fresh, wet plaster surface or wall and thereby become part of the surface or wall (from Italian for “fresh”).

Front 109

6. Buon Fresco (pg. 122) –

Back 109

True fresco, executed on damp lime plaster. Contrast with fresco secco.

Front 110

7. Fresco Secco (pg. 122) –

Back 110

Dry fresco; painting executed on dry plaster. Contrast with buon fresco.

Front 111

8. Encaustic (pg. 123) –

Back 111

Pigment in Wax Vehicle Heated to a Liquid State

A method of painting in which the colors in a wax medium are burned into a surface with hot irons.

Front 112

10. Gesso (pg. 124) –

Back 112

Combination of Powdered Chalk or Plaster and Animal Glue

Plaster of Paris that is applied to a wooden or canvas support and used as a surface for painting or as the material for sculpture (from Italian for “gypsum”).

Front 113

11. Gilding (pg. 124) –

Back 113

Application of Thinly Hammered Sheets of Gold to Panel Surface

To apply thin sheets of gold leaf or goldlike substance to a surface.

Front 114

12. Egg Tempera (pg. 124) –

Back 114

A painting medium in which ground pigments are bound with egg yolk.

Front 115

14. Glazing (pg. 124) –

Back 115

Application of Multiple Layers of Transparent Films of Paint to a Surface

In painting, a semitransparent coating on a painted surface that provides a glassy or glossy finish. In ceramics, a hard, glossy coating formed by applying a liquid suspension of powdered material to the surface of a ware, which is then dried and fired at a temperature that causes the ingredients to melt together.

Front 116

17. Aquarelle (pg. 130) –

Back 116

A watercolor technique in which a transparent film of paint is applied to a white, absorbent surface.

Front 117

20. Gallery (pg. 132) –

Back 117

A place where artists showcase their artwork.

Front 118

21. Mixed Media (pg. 132) –

Back 118

The use of 2 or more media to create a single image.

Front 119

Chapter 6
Artists

1. Robert Motherwell (pg. 121) –

Back 119

Quote on top of page “Suddenly I realized that each brushstroke is a decision…In the end I realize that whatever meaning that picture has is the accumulated meaning of ten thousand brushstrokes, each one being decided as it was painted.”

Front 120

2. Giotto (pg. 122) –

Back 120

“Lamentation” (c. 1305) Fresco (7’7” x 7’9”)

Front 121

3. Vincent van Gogh (pg. 122) –

Back 121

Quote on top of page “Just dash something down if you see a blank canvas staring at you…You do not know how paralyzing it is, that blank staring of the canvas which says to the painter: You do not know anything.”

Front 122

4. Maurice Denis (pg. 123) –

Back 122

Quote on top of page “Remember that a picture – before being a horse, a nude, or some sort of anecdote – is essentially a flat surface covered with colors assembled in a certain order.”

Front 123

5. Leonardo da Vinci (pg. 126) –

Back 123

Quote on top of page “A good painter is to paint two things, namely, man and the working of man’s mind”

Front 124

6. Faiyum Artist (pg. ) –

Back 124

a

Front 125

7. Kay Walkingstick (pg. 124) –

Back 125

“Solstice” (1982) Acrylic and Wax on Canvas (48” x 48” x 3-1/2”)

Front 126

8. Gentile da Fabriano (pg. 125) –

Back 126

“Adoration of the Magi” (1423) Tempera on Wood Panel (9’ 10-1/8” x 9’ 3”)

Front 127

9. Franz Gertsch (pg. 125) –

Back 127

“Silvia” (1998) Tempera on Unprimed Canvas (9’ 6-1/2” x 9’ 2-1/4”)

Front 128

10. Rembrandt van Rijn (pg. 126) –

Back 128

“Head of St. Matthew” (c. 1661) Oil on Wood (9-7/8” x 7-3/4”)

Front 129

11. Gilbert Stuart (pg. 127) –

Back 129

“George Washington” (1796) Oil on Canvas (39-5/8” x 34-1/2”)

Front 130

12. Roy Lichtenstein (pg. 127) –

Back 130

“George Washington” (1962) Oil on Canvas (51” x 38”)

Front 131

13. Ed Paschke (pg. 128) –

Back 131

“Anesthesio” (1987) Oil on Linen (68” x 80”)

Front 132

14. Helen Oji (pg. 128) –

Back 132

“Mount St. Helen’s” (1980) Acrylic, Rhoplex, Glitter on Paper (60” x 72”)

Front 133

15. Roger Shimomura (pg. 129) –

Back 133

“Untitled” (1984) Acrylic on Canvas (60” x 72”)

Front 134

16. David Hockney (pg. 130) –

Back 134

“Punchinello with Block, for Parade Triple Bill” (1980) Gouache on Paper (14” x 17”)

Front 135

17. Ralph Goings (pg. 131) –

Back 135

“Rock Ola” (1992) Watercolor on Paper (14” x 20-3/4”)

Front 136

18. Emil Nolde (pg. 131) –

Back 136

“Still Life, Tulips” (c. 1930) Watercolor on Paper (18-1/2” x 13-1/2”)

Front 137

19. Jackson Pollock (pg. 132) –

Back 137

Quote on top of page “Painting is self-discovery. Every good artist paints what he is.”

Front 138

20. Crash (John Matos) (pg. 132) –

Back 138

“Arcadia Revisited” (1988) Spray Paint on Canvas (96-1/4” x 68”)

Front 139

21. Robert Rauschenberg (pg. ) –

Back 139

a

Front 140

22. Pablo Picasso (pg. ) –

Back 140

a

Front 141

23. Georges Braque (pg. ) –

Back 141

a

Front 142

24. Howardena Pindell (pg. 133) –

Back 142

“Autobiography: Water/Ancestors, Middle Passage/Family Ghosts” (1988) Acrylic, Tempera, Cattle Markers, Oil Stick, Paper, Polymer Photo-Transfer, and Vinyl Tape on Sewn Canvas (118” x 71”)

Front 143

25. Miriam Schapiro (pg. 133) –

Back 143

“Maid of Honour” (1984) Acrylic and Fabric on Canvas (60” x 50”)

Front 144

a

Back 144

14. 6-8 Roy Lichenstein, “George Washington” (1962)