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44 Cards in this Set

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a period of ancient art after the introduction of agriculture but before the inventions of bronze.
Neolithic art
Neolithic means
“new stone age”.
A very ancient period of art coincident with the old stone age, before the discovery of agriculture and animal herding.
Paleolithic Art
Art in which it is the artist’s intention to present again or represent a particular subject; especially pertaining to realistic portrayal of subject matter.
Representational Art
Art that departs significantly from natural appearances. Forms are modified or changed to varying degrees in order to emphasize certain qualities or content. Recongnizable references to original appearances may be very slight. The term is also used to describe art that is nonrepresentational.
Abstract Art
Art without reference to anything outside itself-without representation. Also called “nonobjective” without recognizable objects.
of painting, design, and architecture developed from the 5th century C.E. in the Byzantine Empire of ancient Eastern Europe. Characterized in architecture by round arches, large domes, and extensive use of mosaic; characterized in painting by formal design, frontal and stylized figures, and rich use of color, especially gold, in generally religious subject manner.
Byzantine Art-
Art of people who have had no formal, academic training, but whose works are part of an established tradition of style and craftsmanship. (Shakers and Amish)
Folk Art-
Period in Europe from the late fourteenth through the sixteenth centuries, which was characterized by a renewed interest in human-centered classical art, literature, and learning.
The seventeenth-century period in Europe characterized in the visual arts by dramatic light and shade, turbulent composition, and exaggerated emotional expression.
A movement in literature and visual arts that developed in the mid-1920’s and remained strong until the mid-1940s; grew out of Dada and automatism. Based upon revealing the unconscious mind in dream images, the irrational, and the fantastic, Surrealism took two directions: Representational and Abstract. Dali’s and Magritte’s paintings, with their uses of impossible combinations of objects depicted in realistic detail, typify representational Surrealism. Micro’s paintings, with his use of abstract and fantastic shapes and vaguely defined creatures, are typical of abstract Surrealism
A style that developed in the sixteenth century as a reaction to the classical rationality and balanced harmony of the High Renaissance; characterized by dramatic use of space and light, exaggerated color, elongation of figures, and distortions of perspective, scale, and proportion.
A cultural and intellectual movement during the renaissance, following the rediscovery of the art and literature of ancient Greece and Rome. A philosophy or attitude concerned with the interests , achievements, and capabilities of human beings rather than with the abstract concepts and problems of theology or science.
symbolic meanings of subjects and signs used to convey ideas important to particular cultures and religions, and the conventions governing the use of such forms.
A line in composition that is not actually drawn. It may be a sight line of a figure in a composition, or a line along which two shapes align with each other.
mplied line
The representation of Forms on a two dimensional surface by shortening the length in such a way that the long axis appears to project toward or recede away from the viewer.
Italian word meaning “light-dark.” The gradations of light and dark values in two dimensional imagery; especially the illusion of rounded, three dimensional form created through gradations of light and shade rather than line. Highly developed by Renaissance painters.
Italian for “counterpose.” The counterpositioning of parts of the human figure about a central vertical axis, as when the weight is placed on one foot causing the hip and shoulder lines to counterbalance each other-often in a graceful S-curve.
The appearance of similarity, consistency, or oneness. Interrelational factors that cause various elements to appear as part of a single complete form.
An arrangement of parts achieving a state of equilibrium between opposing forces and influences. Major types are symmetrical (even placement) and asymmetrical (uneven placement that balances).
The regular or ordered repetition of dominant and subordinate elements or units within a design.
The size or apparent size of an object seen in relation to other objects, people, or its environment or format. Also used to refer to the quality or monumentality found in some objects regardless of their size. In architectural drawings, the ratio of the measurements in the drawing to the measurements in the building.
The size relationship of parts to a whole and to one another
- Three dimensional form having physical bulk. Also, the illusion of such a form on a two dimensional surface.
A particular material along with its accompanying technique; specific type of artistic technique or means of expression determined by the use of particular materials.
Works of art made with more than one medium
Mixed media
A color scheme limited to variations of one hue; a hue with its tints or shades.
An art medium in which small pieces of colored glass, stone, or ceramic tile called tessera are embedded in a background material such as plaster or mortar. Also, works made using this technique
The relative purity or saturation of a hue(color), on a scale from bright(pure) to dull(mixed with another hue or a neutral)
That property of a color identifying a specific, named wavelength of light such as green, red , violet, and etc. (and so on).
Colors whose relative visual temperatures make them seem cool. Cool colors generally include green, blue-green, blue, blue violet, and violet. Warmness and coolness is relative to adjacent hues.
Cool colors
Colors whose relative visual temperature makes them seem warm. Warm colors or hues include red-violet, red, red-orange, orange, yellow orange, and yellow
Warm colors
Two hues directly opposite one another on a color wheel which, when mixed together in proper proportions, produce a neutral gray. The true complement of a color can be seen in its afterimage.
Complementary colors
Not associated with any single hue. Blacks, whites, grays, and dull gray browns. A neutral can be made by mixing complementary hues.
The actual color as distinguished from the apparent color of objects and surfaces; true color, without shadows or reflections. Sometimes called object color.
Local color
Hue with white added.
Hue with black added.
The visual image that remains after an initial stimulus is removed. Staring at a single intense hue may cause the cones, or color receptors, of the eye to become fatigued and perceive only the complement of the original hue after it has been removed.
A system for creating an illusion of depth or 3d space on a 2d surface. Usually used to refer to linear prospective, which is based on the fact that parallel lines on edges appear to converge and objects appear smaller as the distance between them and the viewer increases. Atmospheric perspective creates the illusion of distance by reducing color saturation, value contrast, and detail in order to imply the hazy effect of atmosphere between the viewer and distant objects. Isometric perspective is not a visual or optical interpretation, but a mechanical means to show space and volume in rectangular forms. Parallel lines remain parallel; there is no convergence. A work executed in one point perspective has a single vanishing point. A work in two-point perspective has two of them.
Having the dimensions of height and width only
Two dimensional
Having height, width, and depth
Three dimensional
French for “fool the eye.” A 2d representation that is so naturalistic that it looks actual or real.
Trompe l’oeil
In linear perspective, the point on the horizon line at which lines or edges that are parallel appear to converge.
Vanishing point
position from which the viewer looks at an object or visual field; also called “observation point” or “viewpoint.”
Vantage point