Art

Front 1

William G. Wall’s print Fort Edward is a vehicle for expressing the artist’s thoughts about ______.

Back 1

1. the expansion and development of America
2. the beauty of the American landscape
3. the struggles between Native and European Americans

Front 2

The Nazis’ Degenerate Art Exhibition contained work that ______.

Back 2

1. attracted a large number of visitors

Front 3

Western artists since the Renaissance have usually considered ______ to be the highest forms of art.

Back 3

1. sculpture and painting

Front 4

Traditionally, artists in China learned their craft by ______.

Back 4

copying the work of a great master

Front 5

Stolen art loses much of its value because ______.

Back 5

1. lacking good title and proper provenance prevents its resale

Front 6

Hokusai is said to have used a live chicken’s footprints in a painting that communicated ______.

Back 6

1. the sensations of a fall day by the river

Front 7

Art is sometimes censored by the authorities because:

Back 7

1. it offends people’s religious beliefs.
2. its sexual content seems pornographic.
3. it carries a political message that worries the authorities.
4. its moral values seem improper.
5. all of the above

Front 8

African masks displayed in museums were originally made ______.

Back 8

1. to be worn during spiritual or magic ceremonies

Front 9

The Turkish soldiers in Delacroix’s painting The Massacre at Chios are shown wearing turbans because the artist wanted ______.

Back 9

the Turks to seem exotic and frightening

Front 10

During his lifetime, Vincent van Gogh ______.

Back 10

1. practiced as an artist for only ten years

Front 11

academies

Back 11

Definition

Institutions training artists in both the theory of art and practical techniques. (page 35)

Front 12

Bauhaus

Back 12

Definition

Design school founded in Weimar, Germany, in 1919. (page 41)

Front 13

calligraphy

Back 13

The art of emotive or carefully descriptive hand lettering or handwriting. (page 33)

Front 14

ceramic

Back 14

Fire-hardened clay, often painted, and normally sealed with shiny protective coating. (page 33)

Front 15

guilds

Back 15

Definition

Medieval associations of artists, craftsmen, or tradesmen. (page 35)

Front 16

ivory

Back 16

Hard, creamy-colored material from the tusks of such mammals as elephants. (page 43)

Front 17

manuscripts

Back 17

Handwritten texts. (page 35)

Front 18

medieval

Back 18

Relating to the Middle Ages; roughly, between the fall of the Roman Empire and the Renaissance. (page 31)

Front 19

medium

Back 19

The material on or from which an artist chooses to make a work of art. (page 27)

Front 20

mural

Back 20

A painting executed directly onto a wall. (page 37)

Front 21

neutral tones

Back 21

Colors (such as blacks, whites, grays, and dull gray-browns) made by mixing complementary hues. (page 43)

Front 22

oil paint

Back 22

Paint made of pigment suspended in oil. (page 43)

Front 23

patron

Back 23

An organization or individual who sponsors the creation of works of art. (page 33)

Front 24

print

Back 24

A picture reproduced on paper, often in multiple copies. (page 27)

Front 25

provenance

Back 25

The record of all known previous owners and locations of a work of art. (page 37)

Front 26

Renaissance

Back 26

A period of cultural and artistic change in Europe from the fourteenth to the seventeenth century. (page 31)

Front 27

watercolor

Back 27

Transparent paint made from pigment and a binder dissolved in water. (page 29)

Back 28

The Journey of the Sun God Re, detail from the inner coffin of Nespawershefi, Third Intermediate Period, 990–969 BCE. Plastered and painted wood. Fitzwilliam Museum, Cambridge, England

Figure 0.1 Fitzwilliam Museum, University of Cambridge/Bridgeman Art Library

Back 29

William G. Wall, Fort Edward, from The Hudson River Portfolio, 1820. Hand-colored aquatint, 14 1/2 x 21 3/8"

Figure 0.2 Spencer Collection, New York Public Library, Astor, Lenox and Tilden Foundations

Back 30

Louise Nevelson, White Vertical Water, 1972. Painted wood, 18 x 9'. Solomon R. Guggenheim Museum, New York

Figure 0.3 Solomon R. Guggenheim Museum, New York, Gift, Mr. and Mrs. James J. Shapiro, 85.3266. Photo David Heald © Solomon R. Guggenheim Foundation. © ARS, NY and DACS, London 2011

Back 31

Simon Rodia, Watts Towers, 1921–54. Seventeen mortar-covered steel sculptures with mosaic, 99 1/2' high at tallest point. 1761–1765 East 107th Street, Los Angeles, California

Back 32

Thomas Jefferson, Virginia State Capitol Building, 1785–8, Court End District, Richmond, Virginia

Back 33

Jeff Koons, Rabbit, 1986. Stainless steel, 41 x 19 x 12". Edition of 3 and artist’s proof

Back 34

Tea bowl, 16th century. Stoneware with red glaze (Karatsu ware), 3 x 19 7/8". Indianapolis Museum of Art

Figure 0.7 Indianapolis Museum of Art, Gift of Charles L. Freer/Bridgeman Art Library

Back 35

Leonardo da Vinci, Mona Lisa, 1503. Oil on wood, 30 3/8 x 20 7/8". Musée du Louvre, Paris, France

Figure 0.8 Musée du Louvre, Paris

Back 36

Titian, Isabella d’Este, 1536. Oil on canvas, 40 1/4 x 25 1/4". Kunsthistorisches Museum, Vienna, Austria

Figure 0.9 Kunsthistorisches Museum, Vienna

Back 37

Gustav Klimt, Adele Bloch-Bauer, 1912. Oil on canvas, 6'2 7/8" x 3'11 1/4". Private collection

Figure 0.10 Private Collection

Back 38

Rembrandt van Rijn, Self-portrait, 1630. Oil on copper, 6 1/8 x 4 3/4". Nationalmuseum, Stockholm, Sweden

Figure 0.11 Photo © Erik Cornelius/Nationalmuseum, Stockholm

Back 39

The Lincoln Memorial statue by Daniel Chester French, 1920. Marble, 19' high. The Mall, Washington, D.C.

Figure 0.12 © Ian Dagnall/Alamy

Back 40

Johannes Vermeer, Girl with a Pearl Earring, c. 1665. Oil on canvas, 17 1/2 x 15 3/8". Mauritshuis, The Hague, Netherlands

Figure 0.13 Mauritshuis, The Hague

Back 41

Marc Quinn, Self, 1991. Blood (artist’s), stainless steel, perspex, and refrigeration equipment, 81 7/8 x 24 3/4 x 24 3/4". Private collection

Figure 0.14 Photo Marc Quinn Studio. Courtesy White Cube. © the artist

Back 42

Otto Dix, Kriegeskrueppel (War Cripples), 1920. Drypoint, 12 3/4 x 19 1/2" (sheet size). MOMA, New York

Figure 0.15 Publisher Heinar Schilling, Dresden. Printer unknown. Edition 15. Museum of Modern Art, New York, Purchase, Acc. no. 480.1949. Photo 2011, Museum of Modern Art, New York/Scala, Florence. © DACS 2011

Back 43

Winslow Homer, Prisoners from the Front, 1866. Oil on canvas, 24 x 38". Metropolitan Museum of Art, New York

Figure 0.16 Metropolitan Museum of Art, Gift of Mrs. Frank B. Porter, 1922, Acc. no. 22.207. Photo Metropolitan Museum of Art/Art Resource/Scala, Florence

Back 44

Eugène Delacroix, The Massacre at Chios, 1824. Oil on canvas, 13'8" x 11'7 3/8". Musée du Louvre, Paris, France

Figure 0.17 Musée du Louvre, Paris

Back 45

Carved ivory mask-shaped hip pendant, mid-16th century. Ivory inlaid with iron and bronze, 9 5/8 x 5 x 2 3/8". British Museum, London, England

Figure 0.18 André Held /akg-images

Front 46

This artist used contrasting positive and negative shapes to create his "Obey" campaign, an expression of guerrilla marketing and street theater.

Back 46

Shepard Fairey

Front 47

This artist would sometimes go for days without food or sleep in an attempt to explore the deep-rooted sources of creativity and truth.

Back 47

Andre Masson

Front 48

Vertical lines tend to communicate __________ .

Back 48

strength

Front 49

This kind of shape is mathematically regular and precise.

Back 49

1. Geometric

Front 50

Line can be used as a tool to __________ .

Back 50

1. demarcate boundaries
2. imply direction
3. give a sense of surface
4. indicate movement

Front 51

In the work The Connectors, the artist James Allen uses this kind of line to draw the viewer’s attention to the great height that faced the builders of the Empire State Building.

Back 51

1. Directional

Front 52

These 1300-year-old South American drawings, which include an enormous image of a spider, were first discovered by overflying commercial aircraft because they are so huge.

Back 52

1. Nazca Lines

Front 53

Dashes and grids in The Devil Made Me Do It, by Sauerkids, are a good example of this kind of line.

Back 53

1. Implied

Front 54

Using negative shape, the graphic designer Al Grivetti inserted this number into the Big Ten logo to express the league’s expansion.

Back 54

1. 11

Front 55

Barbara Hepworth uses line to plan and visualize her three-dimensional artwork. What kind of three-dimensional artwork does she produce?

Back 55

1. sculpture

Front 56

Abstract

Back 56

Art imagery that departs from recognizable images from the natural world. (page 59)

Front 57

Actual Line

Back 57

A continuous, uninterrupted line. (page 53)

Front 58

Automatic

Back 58

Suppressing conscious control to access subconscious sources of creativity and truth. (page 51)

Front 59

Background

Back 59

The part of a work depicted furthest from the viewer's space, often behind the main subject matter. (page 55)

Front 60

Collage

Back 60

A work of art assembled by gluing materials, often paper, onto a surface. From the French coller, to glue. (page 57)

Front 61

Color

Back 61

The optical effect caused when reflected white light of the spectrum is divided into a separate wavelength. (page 56)

Front 62

Concentric

Back 62

Identical shapes stacked inside each other sharing the same center, for example the circles of a target. (page 61)

Front 63

Conceptual art

Back 63

A work in which the ideas are often as important as how it is made. (page 49)

Front 64

Contrast

Back 64

A drastic difference between such elements as color or value (lightness/darkness). (page 46)

Front 65

Elements

Back 65

The basic vocabulary of art -- line, form, shape, volume, mass, color, texture, space, time and motion, and value (lightness/darkness). (page 46)

Front 66

Etching

Back 66

A printmaking process that relies on acid to bite (or etch) the engraved design into the printing surface. (page 53)

Front 67

Facade

Back 67

Any side of a building, usually the front or entrance. (page 49)

Front 68

Figure-ground reversal

Back 68

The reversal of the relationship between one shape (the figure) and its background (the ground), so that the figure becomes background and the ground becomes the figure. (page 61)

Front 69

Highlight

Back 69

An area of lightest value in a work. (page 58)

Front 70

Implied line

Back 70

A line not actually drawn but suggested by elements in the work. (page 53)

Front 71

Line

Back 71

A mark, or implied mark, between two endpoints. (page 46)

Front 72

Negative space

Back 72

An empty space given shape by its surround, for example the right-pointing arrow between the E and x in FedEx. (page 58)

Front 73

Outline

Back 73

The outermost line of an object or figure, by which it is defined or bounded. (page 47)

Front 74

Pattern

Back 74

An arrangement of predictably repeated elements. (page 57)

Front 75

Plane

Back 75

A flat surface. (page 47)

Front 76

Positive shape

Back 76

A shape defined by its surrounding empty space. (page 58)

Front 77

Principles

Back 77

The "grammar" applied to the elements of art -- contrast, balance, unity, variety, rhythm, emphasis, pattern, scale, proportion, and focal point. (page 46)

Front 78

Rhythm

Back 78

The regular or ordered repetition of elements in the work. (page 53)

Front 79

Shape

Back 79

The two-dimensional area the boundaries of which are defined by lines or suggested by changes in color or value. (page 46)

Front 80

Space

Back 80

The distance between identifiable points or planes. (page 55)

Front 81

Style

Back 81

A characteristic way in which an artist or group of artists uses visual language to give a work an identifiable form of visual expression. (page 51)

Front 82

Two-dimensional

Back 82

Having height and width. (page 46)

Front 83

Volume

Back 83

The space filled or enclosed by a three-dimensional figure or object. (page 55)

Front 84

Woodcut

Back 84

A print created from an incised piece of wood. (page 61)

Back 85

Spider, c. 500 BCE–500 CE, Nazca, Peru

Figure 1.1 Photo Jarno Gonzalez Zarraonandia/iStockphoto.com

Back 86

Canaletto, The Maundy Thursday Festival before the Ducal Palace in Venice, 1763/6. Pen and brown ink with gray wash, heightened with white gouache, 15 1/8 x 21 3/4". National Gallery of Art, Washington, D.C.

Figure 1.2b National Gallery of Art, Washington, D.C., Wolfgang Ratjen Collection, Paul Mellon Fund, 2007.111.55

Back 87

Mel Bochner, Vertigo, 1982. Charcoal, Conté crayon, and pastel on canvas, 9' x 6'2". Albright-Knox Art Gallery, Buffalo, New York

Figure 1.4 Image courtesy Peter Freeman, Inc., New York

Back 88

Barbara Hepworth, Drawing for Sculpture (with color), 1941. Pencil and gouache on paper mounted on board, 14 x 16". Private collection

Figure 1.5 © Bowness, Hepworth Estate

Back 89

André Masson, Automatic Drawing, 1925–6. Ink on paper, 12 x 9 1/2". Musée National d’Art Moderne. centre Georges Pompidou, Paris, France

Figure 1.6 © ADAGP, Paris and DACS, London 2011

Back 90

Jean Dubuffet, Suite avec 7 Personnages, 1981. Ink on paper, 13 3/4 x 16 7/8". Private collection

Figure 1.7 Fondation Dubuffet. © ADAGP, Paris and DACS, London 2011

Back 91

George Bellows, Woodstock Road, Woodstock, New York, 1924. Black crayon on wove paper, image 6 1/8 x 8 7/8", sheet 9 1/4 x 12 3/8". Collection of Mr. and Mrs. Paul Mellon, National Gallery of Art, Washington, D.C.

Figure 1.8 National Gallery of Art, Washington, D.C., Collection of Mr. and Mrs. Paul Mellon, 1983.1.81

Back 92

Franco-German hand, Pentateuch with Prophetical Readings and the Five Scrolls, 13th–14th century. Illustrated manuscript. British Library, London, England

Figure 1.10 British Library, London

Back 93

Detail of Pentateuch with Prophetical Readings and the Five Scrolls

Figure 1.11 British Library, London

Back 94

Sauerkids, The Devil Made Me Do It, 2006. Digital image, 16 1/2 x 8 1/4"

Figure 1.12 © Sauerkids

Back 95

Francisco Goya, The Third of May, 1808, 1814. Oil on canvas, 8'4 3/8" x 11'3 7/8". Museo Nacional del Prado, Madrid, Spain [Image shown with directional line overlay]

Figure 1.13 Museo Nacional del Prado, Madrid

Back 96

James Allen, The Connectors, 1934. Etching, 12 7/8 x 9 7/8". British Museum, London, England

Figure 1.14 British Museum, London

Back 97

Egon Schiele, Portrait of the Artist’s Wife, Standing, with Hands on Hips, 1915. Black crayon on paper, 18 x 11 1/4". Private collection

Figure 1.15 Private Collection

Back 98

Carolyn Davidson, Nike Company logo, 1971

Figure 1.17 © Nike

Back 99

Vincent van Gogh, The Bedroom, 1889. Oil on canvas, 28 3/4 x 36 1/4". Art Institute of Chicago

Figure 1.18 Art Institute of Chicago, Helen Birch Bartlett Memorial Collection, 1926.417

Back 100

Miriam Schapiro, Baby Blocks, 1983. Collage on paper, 29 7/8 x 30". University of South Florida Collection, Tampa

Figure 1.20 Courtesy Flomenhaft Gallery, New York

Back 101

Saul Bass, Bass & Yager, AT&T logo, 1984

Figure 1.22 Courtesy AT&T Archives and History center

Back 102

Shepard Fairey, Obey, 1996. Campaign poster

Figure 1.23a © 1996 Shepard Fairey/ObeyGiant.com

Back 103

Shepard Fairey, Obey, 1996. View of the posters as they were installed in public

Figure 1.23b © 1996 Shepard Fairey/ObeyGiant.com. Photo © Elizabeth Daniels, www.elizabethdanielsphotography.com

Back 104

Georgia O’Keeffe, Music—Pink and Blue II, 1919. Oil on canvas, 35 x 29 1/8". Whitney Museum of American Art, New York

Figure 1.24 © Georgia O’Keeffe Museum/DACS 2011

Back 105

Al Grivetti, Big Ten logo, 1991

Figure 1.25 © Big Ten Conference

Back 106

M. C. Escher, Sky and Water I, 1938. Woodcut, 17 1/8 x 17 3/8". The M. C. Escher Company, Netherlands

Figure 1.26 © 2011 The M.C. Escher Company-Holland. All rights reserved. www.mcescher.com

Back 107

Banner of Las Navas de Tolosa, 1212–50. Silk and gilt thread tapestry, 10'10" x 7'2 5/8". Monasterio de las Huelgas, Museo de Telas Medievales, Burgos, Spain

Figure 1.27 Monasterio de las Huelgas, Museo de Telas Medievales, Burgos