Art Of The Western World Definitions 2

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A composition that takes the shape of a three-dimensional pyramid,
usually with the most important figure at the apex:

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pyramidal composition.

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Soft modeling from deep shadow to light:

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sfumato.

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In its most general sense, a gathering of people for the purpose of discussing and learning about a particular topic.

Around the sixteenth century, the first art academies began to compete with workshops as a place where artists could be trained.

While workshops emphasized the craft of painting or sculpture, academies supplemented this knowledge
with lectures about art theory, literature, mythology, and other topics.

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academy

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While workshops emphasized the craft of painting or sculpture, academies supplemented this knowledge
with lectures about:

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art theory, literature, mythology, and other topics.

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A direct way of painting without preliminary drawing or underpainting.:

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alla prima.

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An abstract or moralistic level of meaning suggested by the commonly
understood objects or themes in a work of art:

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allegory

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A type of landscape popular in Italy and France that has carefully balanced, idealized elements; land forms that overlap in regular wedges; and small figures acting out a religious or historical story:

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classical landscape.

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A printmaking technique in which the artist scratches directly into a metal plate with a needlelike instrument, producing a rough burr on the plate.

When printed, drypoint produces a dark, fuzzy line or tonal area.

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drypoint.

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A printmaking technique in which a copper plate is coated with a ground
made of varnish, wax, and similar materials.

The artist scratches the design into the ground, exposing the copper beneath.

The plate is then put in an acid bath, and the acid cuts the lines in the plate. The ground is then removed, and the plate is inked and printed like an engraving:

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etching.

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Painting that depicts a moralistic narrative from historical, mythological, or religious sources:

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history painting.

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A heavy application of paint that dries to a textured crust visible on the surface of the painting:

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impasto.

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A manner of painting in which objects are sharply defined and brushstrokes are nearly invisible:

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linear.

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A manner of painting that emphasizes the fluidity of brushwork;
often brushstrokes are visible and forms seem to emerge from areas of color:

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painterly.

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Literally, a reception room; in the eighteenth century, it was the term
given to a regular gathering of intellectuals and socialites in the home of an aristocratic woman.

In its specific sense, the Salon was the official art exhibit in France, controlled by the academy and the French government
until the end of the eighteenth century:

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salon.

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In printmaking, a version of a print that is published as a finished work;

later revisions to the plate result in another state:

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state.

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A manner of painting in which very dark tones are predominant;
lighter areas seem to emerge from the deep shadows:

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tenebrism.

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A type of painting that shows figures engaged in pleasant activities in a landscape setting:

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fête galante.

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In architecture, the practice of using styles of the past for new buildings;
sometimes, particular styles are associated with certain building types, such as Gothic style for religious buildings:

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historicism.

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A sense of terror or awe in the presence of great power, especially natural forces:

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sublime.

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French for “the advance troops”;

a term borrowed by artists who saw themselves as radical innovators in their field.:

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avant-garde.

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A form of printmaking in which the artist draws with an oil-based crayon or wash on a smooth slab of limestone;

the stone is moistened with water before the oil-based ink is applied, so the wet areas repel the ink and the lines of the drawing attract it:

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lithography.

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The tendency in nineteenth-century photography to emulate the effects of painting;

for example, using a romantic theme or using a softer focus to imitate brushwork:

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pictorialism.

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French for “open air”;

t refers to the practice of painting
landscape out-of-doors rather than composing it in the studio.

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plein air.

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The method of painting in which colors are divided into their component colors, which are then applied in small, regular dots:

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pointillism or
divisionism.

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A process that produces an image without conscious thought:

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automatism.

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A horizontal slab supported and weighted down on one end so that it can be extended into space without additional support on the other end:

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cantilever.

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A work of art made by gluing together pieces of paper, fabric, or other materials:

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collage.

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Removing one or more outlines from an object in a painting so that the object seems to merge with the space or other objects around it:

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passage.

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A sculpture that is an ordinary, functional object removed from its normal context and placed in a context that we associate with art, such as on a pedestal in a museum:

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readymade.

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A sculpture assembled from found objects and materials originally intended for other purposes:

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assemblage.

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Art that is created by manipulating the land or other natural elements:

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earthworks.

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The belief that color, shape, and other formal elements in art can convey meaning or emotion apart from recognizable subject
matter:

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formalism.

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A complex, usually multimedia work of art that is set in a specific location for a limited length of time:

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installation.

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A composition that is uniform across the entire canvas, without specific direction or focal points:

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overall composition.

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What two assumptions about art did abstract expressionism attempt to undo?

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XXX That art should be formal and symmetrical and that it should be pleasing to the eye.

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Jackson Pollock and Mark Rothko are outstanding exemplars of gestural and color field painting, respectively.

Compare Autumn Rhythm (Number 30) with Brown, Blue, Brown on Blue.

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Brown, Blue, Brown on Blue: soft-edged forms that seem to float forward or backward in space. Rothko's works consist of strong formal elements, such as color, shape, balance, depth, composition, and scale.

Pollock abandons traditional composition. His works do not have any points of emphasis or identifiable parts. They also lack a central motif. Therefore, the spectator’s eye is continuously on the move. Pollock’s approach encourages the spectator’s peripheral vision. Action paintings are perceived as vital and dynamic because our gaze cannot settle or focus on the canvas.

? Autumn allows you to see the complex interweaving and overall composition of the picture.
Brown is more interested in showing separation and contrast, using forms that seem to hang in space. ?

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How do Donald Judd's boxes represent formalism's dictates?

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His series of boxes removes all subject matter, illusion, and evidence of the artist's hands.

? They are stripped of any evidence of the artist's hands and are objects on a wall, following the dictates of formalism that an art object is an object we call art.

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Jasper Johns's was usually about mundane subjects. Both he and Robert Rauschenberg created which of the following to comment on the world with humor?

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They both used subject matter that was not just recognizable, but was so common as to be considered banal.

? combines or assemblages.

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Pop art treats the stuff of the modern life as art. How did Roy Lichtenstein and Claes Oldenburg transform common objects to art?

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Both artists questioned why we call certain images or objects art, while others are just the stuff of modern life.

They enlarged or changed the medium of mass-produced images in a more playful way.

? In both cases, they did so in part by enlarging the objects and forcing the viewer to really look at the items.

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In what way are Chuck Close's paintings similar to Andy Warhol's paintings?

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Both produced representational paintings.

? They are both heavily influenced by photography - in particular, the printing techniques used for photographs, though in different ways.

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Which of the following exemplifies conceptual art and why?

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Conceptual art = is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns.

Many of works of conceptual art, sometimes called installations, may be constructed by anyone simply by following a set of written instructions.

XXX Vir Heroicus Sublimis by Barnett Newman...

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Compare Maya Ling Yin's Vietnam Veterans Memorial with a more traditional monument, such as the Marcus Aurelius equestrian monument.

How are they similar?

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abstract form, but:

forces viewer to enter the space the monument creates; evokes personal reactions from viewers.

? Both are meant to arouse emotion...

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How does Judy Chicago's installation The Dinner Party exemplify contemporary art?

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Judy Chicago's installation The Dinner Party calls attention to art forms associated with women (i.e. embroidery and entertaining), but through these art forms celebrates the women who stand out in art and history.

? It's an installment...

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How does Frank O. Gehry's Guggenheim Museum in Bilbao indulge in a little historicism?

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It refers back to a specific historical building: Frank Lloyd Wright's Guggenheim Museum in New York City.

? D.

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The gallery system, especially in places like New York, offers:

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approval, appreciation, and connections for aspiring artists.

(Even if the system is sometimes too controlling in deciding what will sell.)

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The dominant style in American art before WWII was:

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realism.

(Although some artists, especially in New York City, were exploring pure abstraction.)

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List the two main divisions of abstract expressionism.

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1. gestural (or action) painting
2. color field painting

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Shows the movement of the artist's hand in recording broad stokes, splashes, and drips of paint:

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gestural (or action) painting.

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The first (best?) of the gestural abstract expressionist was:

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Jackson Pollock.

He discovered the act of painting was therapeutic.

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Pollock's signature style, with its complex interweaving of dripped paint and its overall composition, is seen in:

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Autumn Rhythm (Number 30).

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In the 1940s and the 1950s, American artists become known for their new vision, called Abstract Expressionism.

The group includes artists such as:

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Jackson Pollock (1912-1956), Lee Krasner (1908-1984), Willem and Elaine de Kooning (1904-1997, 1920-1989), Mark Rothko (1903-1970), Barnett Newman (1905-1970), Ad Reinhardt (1913-1967), Robert Motherwell (1915-1991), and Norman Lewis (1909-1979).

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What unifies the gestural painters and the color field painters?

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Their interest in using the formal qualities of paint to express ideas of mythic or psychological importance.

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Artists pursued formalism by:

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eliminating evocative titles and suggestive forms.

(pure painting without subject matter; literalness)

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The movement to reduce the work of art to its more literal, "honest" form is called:

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minimalism.

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A type of work constructed from found objects with additions by the artist is generally known as:

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an assemblage.

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What one thing do the forms of conceptual art have in common?

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The belief that an artist's idea is more important than any object that might be made as a result.

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The earliest Greek art, mostly funerary vases, showed a striking love of:

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pure, simplified, geometric form.

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The human form on early Greek vases are depicted as:

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conceptual forms.

(broad, triangular, frontal torsos... and heads and feet in profile with a single eye)

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The kouros, most characteristic Archaic sculptural form, was most usually:

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a monument marking the grave of a young man thought to be a hero.

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What style is sometimes called the severe style?

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Early Classical Style (Contrapposto)