Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
83 Cards in this Set
- Front
- Back
|
Abstract |
Art that does not represent observable aspects of nature. Represents the essence of an object often by stripping away all the nonessential characteristics |
|
|
Acrylics |
A fast drying water-based synthetic paint popular since the 1950's |
|
|
Aerial Perspective |
In which the point of view is from above the scene depicted and looking down |
|
|
Analogous Scheme |
Scheme made of 4 or more colors lying next to each other on the color wheel |
|
|
Armature |
Sculpting with soft, malleable materials that cannot hold their own weight must be built up over an armature, a skeleton of harder material |
|
|
Assembling |
An artwork created by the gathering and manipulating found objects. The technique was especially popular in the first half of the 20th century. |
|
|
Asymmetrical Balance |
The dissimilar distribution of apparent visual weight. |
|
|
Atmospheric Perspective |
An illusionary device to represent things in the distance as less sharply defined because of the effect of the atmospheric element ie: haze, moisture, glare. |
|
|
Binder |
The material used in paint or drawing mediums to bind the pigment particles together and enable them to stick to the support such as glue or gum arabic. |
|
|
Bracelet Modeling |
The use of oval lines disappearing over an edge to create the illusion of a round form on a two dimensional surface |
|
|
Brocateado |
The application of gold leaf to canvas |
|
|
Buon Fresco |
True fresco in which paint i spread on west plaster and becomes part of the wall surface itself as it dries |
|
|
Casting |
The creation of a three dimensional form by pouring into prepared molds a molten or liquid material that will later harden |
|
|
Cartoon |
A full-scale drawing used to transfer the outline of a design onto a surface such as a wall of a design on canvas or panel to be painted. |
|
|
cartouche |
An oval frame, usually of a mirror, created by applying stucco and modeling a design |
|
|
Chalk |
naturally deposited calcium carbonate ground to a power and added to a binder for use as a drawing medium |
|
|
Charcoal |
Charred wood used in sticks as a soft drawing medium |
|
|
Chiaroscuro |
An Italian word designating a contrast of dark and light in painting/drawing to create spatial depth and volumetric forms through gradations of intensity of light and shadow |
|
|
Conte' Crayon |
The original fine textured non-greasy stick of powered graphite and clay with red ochre. Soot or blackstone added for color, used as a drawing tool |
|
|
Complementary Colors |
Colors lying opposite each other on the color wheel |
|
|
Contextual Criticism |
Form of critical analysis of a work by the examinations of facts outside the artwork such as the life of the artist, his or her culture, social, religious and political consitions. |
|
|
Contrapposto |
Displacement of weight in a figurative work on one leg with curvature of the body. First used in ancient Greece. |
|
|
Contrasts |
Abrupt changes in texture, color, shape, light |
|
|
Cross-hatching |
Crossed parallel lines used in drawing and printing to create the illusion of shadows and rounding in space on a two-dimensional surface |
|
|
Emotional Aspect |
Emotional intent created by the artist and that experienced by the beholder |
|
|
Encaustic |
A type of painting technique utilizing pigments mixed with a medium of hot wax. Encaustic Paintings were typically made in ancient times, particularly in Egypt, Greece, and Rome. |
|
|
Eyelines |
The implied line along which the eyes of a human figure in a in a work of art seem to be looking. |
|
|
Focal Point |
The area of composition to which the viewer's eye is most compellingly drawn. |
|
|
Formal Criticism |
Analyzing a work of art based solely on what we find within the aesthetic organization |
|
|
Full Round |
Sculpture that exists in fully three-dimensional space, unattached to backing or support. |
|
|
Gesso |
A fluid white coating made of glue, gypsum, or chalk plaster used to prepare a surface for painting to seal the absorbency of the canvas to help control brush strokes |
|
|
Graphite |
A soft carbon used in drawing pencils |
|
|
Gouache |
An opaque water-soluble painting medium bound with gum Arabic, the lighter tones being mixed with Chinese white watercolor that creates a distinct chalky appearance |
|
|
Hatching |
Short parallel lines used in drawing/painting to create the effects of shadow and form. |
|
|
Hue |
The property of a color that enables us to locate it's position in the spectrum and label it as red, blue, etc. |
|
|
Idealization |
Refers to art in which representational figures and images conform more closely to ideal aesthetic standards than to real life. Imperfections ave been removed. |
|
|
Impasto |
Thickly applied paint - mainly oil or acrylic |
|
|
Implied Line |
A shape or form that is suggested to the eye but not actually present. |
|
|
Implied Triangle |
A common formula for unifying compositional lines primarily used in Christian sacred art but not exclusively. Objects or eyelines creates a suggested triangle. |
|
|
Impressionistic Color |
Capturing the reality of color by an artist as actually seen under given light. |
|
|
Interpretive Color |
Color choices that are guided by the artist's intent rather than by external reality. |
|
|
Ink |
A liquid drawing medium made of pigments, shellac and water. Originally began in ancient China and then Japan and Europe, ink was made from lampblack and weak glue and applied with quill, reeds or bamboo |
|
|
Landscape |
A painting whose subject primarily focuses on the natural scenery |
|
|
Local Color |
The color usually associated with an object as seen from nearby under normal daylight without shadows or reflections. |
|
|
Line |
Horizontal, Vertical, Diagonal - Three visual directional lines of objects within a work of art which create a specific quality; horizontal (calmness, at rest), vertical (growth, potential movement), and diagonal (strong movement, action) |
|
|
Low Relief |
Relief that shows less than 50% of the three dimensional aspects of the figures |
|
|
Maquette |
A small model version used as a guideline for a much larger sculpture |
|
|
Medium |
the material or means of expression with which an artist works |
|
|
Monochromatic Scheme |
Having a color scheme based on values of a single color. |
|
|
Nonobjective |
Refers to art that does not represent any known or recognizable object |
|
|
Oil |
Painting executed with pigment suspended in a medium of oil. Oil paint has properties that allow for greater ease of work such as slow drying time to allow for corrections, strong opaqueness which allows a high degree of detail and luminescence. Oil was adopted wide scale in Europe after 1450 |
|
|
Overlapping |
Hiding of a part of one object with another, an early device used to suggest spatial depth. |
|
|
Pastels |
A chalky stick of powdered pigment ( calcium carbonate) and binder used as a drawing medium. |
|
|
Photorealism |
The attempt in art to capture the photo-like realism found in life itself |
|
|
Pigment |
Powdered colored material used to give hue to paints, inks or drawing mediums |
|
|
Point of View |
The place from which a viewer relates to the two-dimensional scene |
|
|
Primary Colors |
The set of three basic hues ( colors) from which all other hues can be mixed. |
|
|
Repetition |
An organizational principle used by repeating the same design almost exactly the same. |
|
|
Rhythm |
The visual equivalent of notes and pauses in music created by repetition, variety and spacing in design |
|
|
Scale |
The relative size of objects in a work |
|
|
Scale Change |
Manipulating the size of objects in a two-dimensional work to create the illusion of space and distance. |
|
|
Scumbling |
In oil painting, overlapping colors to creat ea new color where they intercept |
|
|
Secondary Colors |
Hues created by combining two primary colors |
|
|
Shading |
Darkening of an area in a two dimensional form to create the illustration of a shadow on a three dimensional form |
|
|
Silver Point |
Drawing medium using encased silver to make marks on an abrasive surface. |
|
|
Still Lifes |
Paintings dedicated to the representation of common household objects and food. |
|
|
Stylized |
A form of representation that emphasizes forms and shapes rather than natural appearnace |
|
|
Sublime |
The prospect of anything beyond the ability of the human mind to comprehend it fully. |
|
|
Symmetrical Balance |
The equal distribution of visual weight in a work |
|
|
Tempera |
A painting medium in which pigments are suspended in a glutinous medium such as egg yolk |
|
|
Tenebrism |
The revelatory power of light. Makes use of large areas of dark contrasting sharply with smaller brightly illuminated areas. |
|
|
Tensile Strength |
A measure of a material to be stretched without breaking |
|
|
Tertiary Colors |
Hues that are created by a mixture of the primary and secondary hues |
|
|
Tesserae |
The small pieces of glass, tile, stone or wood used in mosaics |
|
|
Texture |
The surface quality of an actual work or the illusion that it would feel a certain way if touched. |
|
|
Transitions |
Gradual change from one portion of a design to another |
|
|
Triad Scheme |
The use of three colors lying equal distances from each other on the color wheel |
|
|
Trompe l'oeil |
Optical illusion that deceives the eye into believing it sees something other than the surface |
|
|
Unsized Canvas |
a canvas that has not been treated with a glaze leaving it porous to paint absorbing |
|
|
Vanitas paintings |
Dutch painters used themes to remind us that pleasurable things in life inevitably fade that the material world is not as long lived as the spiritual world, and that the spiritual should command our attention |
|
|
variety |
Change of elements of design in a work |
|
|
Visual Weight |
the apparent heaviness of an area in design |
|
|
Watercolor |
A transparent water-soluble painting medium consisting in water and gum. |
