Content
meaning of an image, beyond its overt subject matter; an opposed to form
Hatching
An area of closely spaced parallel lines employed in drawing and engraving, to create the effect of shading or modeling
Cross- Hatching
2 or more sets of roughly parallel and overlapping lines set at an angle
Complimentary Color
parts of colors, such as red and green, that are directly opposite each other on the color wheel
Analogous Color
Pairs of colors, such as yellow and orange that are adjacent to each other on the color wheel
Primary Colors
The hues that in theory cannot be created from a misture of other hues and from which all other hues are created�namely, in pigment, red, yellow, and blue, and in refracted light, red-orange, green, and blue- violet
Calligraphy
The chi form of Islamic art
Sublime
that which impresses the mind
Andy Goldsworthy
Uses Natural materials for his art
Edouard Manet
Made Luncheon on the grass, oil on canvas
Composition
Organization of form and work of art
Robert Mapplethorp
Photographer
Iconography
Study of symbols/ subject matter in a work of art
Leonardo DaVinci
Last supper, on point perspective
Duchamp
Nude descending the staircase
Picture plane
2D surface of what an artist creates, denies deep space
Sol LeWitt
Often has work generated by museum staff
rhythm
based upon repetition
Genre
a theme that depicts a scene of everyday life
Foreshortening
dramatic use of perspective, on an object or body where one part looks closer than the rest
Tenobursm
Heighten form of chiabroso (last part)
Shade
Add black to the color
Tint
Add white to a color
Pointillism
Style of painting where painting optically mix (stippling= technique)
Value
light to darkness
Intensity of saturation
Brightness to dullness
Representational
when work of art shows no reference to the world, line shape or color
Abstract
art that Does not try and duplicate the world exactly instead reduces to its essential qualities
Van Gogh
Uses Expressive line
Vanishing point
point where line appears to recede into space
Hatching
parallel lines closely spaces to create shading
Scale
overall dimensions of an object
Absolute Symmetry
Each side of a composition is exactly the same
Bilateral Symmetry
two sides of a composition mirror each other, with minor differences from side to side
Alexander Clader
Which artist invented the mobile?
Kinetic
Art that actually moves
Outline
Describes the edge of the shape
Artemisia Gentileschi
Uses Oil on Canvas, in lady with sword in her hand painting
Proportion
relationship between part of an object in terms of size or in terms with its surrounding
Canon of proportions
greek-rule of law, system of ratio to the human figure
Golden section
system of proportions from the ancient Greek; 5 to 8
Pollock
action painting
Form/ Formal Element
(1) literal shape and mass of an object or figure.
(2) the materials used to make a work of art, the ways in which these materials are used in terms of the formal elements (line, light, color)
Content
meaning of an image, beyond its overt subject matter; an opposed to form
Cross- Hatching
Two or more sets of roughly parallel and overlapping lines, set at an angle to one another, in order to create a sense of three-dimensional, molded space
Complimentary Color
parts of colors, such as red and green, that are directly opposite each other on the color wheel
Analogous Color
Pairs of colors, such as yellow and orange that are adjacent to each other on the color wheel
Primary Colors
The hues that in theory cannot be created from a misture of other hues and from which all othere uhes are created�namely, in pigment, red, yellow, and blue, and in refracted light, red-orange, green, and blue- violet
Secondary Colors
Hues created by combining two primary colors; in pigment, the secondary colors are traditionally consirderd to be orange, green, and violet; in refracted light, yellow, magenta, and cyan
Intermediate Colors
The range of colors on the color wheel between each primary color and its neighboring secondary colors: yellow green, for example
Arbitrary Color
Color that has no realistic or natural realation to the object that is depicted, as in a blue horse a purple cow, but that may have emotional or expressive significance
Local Color
As opposed to optical color and perceptual color the actual hue of a thing, independent of the ways in which colors might be misce or how different conditions of light and atmosphere might affect color
Sublime
that which impresses the mind with a sense of grandeur and power, inspiring a sense of awe
Surrealism
A style of art of the early twentheteth century that emphasized dream imagery, chance operations, and rapid thoughtless forms of notation that expressed, it was felt, the unconscious mind
Composition
Organization of form and work of art
Pop Art
a style arising in the early 1960s characterized by emphasis on the forms and imagery of mass culture
Earthwork
An environment that is out of doors
Kinetic Art
Art that moves
Abstraction
A work that to a greater or lesser degree does not resemble what the eye sees
Representational Art
Any work of art that seeks to resemble the world of natural appearance
Nonobjective/Nonrepresentational Art
Art that makes no reference to the natural world and that explores the inherent expressive or aesthetic potential of the formal elements�line, shape, color�and the formal compositional principles of a given medium
Atmospheric Perspective
A technique, often employed in landscape painting, designed to suggest three-dimensional space in the two-dimensional space of the picture plane, and in which forms and objects distant from the viewer become less distinct, often bluer or cooler in color a
One Point Liner Perspective
A version of linear perspective in which there is only one vanishing point in the composition
Two Point Linear Perspective
A version of linear perspective in which there are two (or more) vanishing points in the composition
Foreshortening
The modification of perspective to decrease distortion resulting from the apparent visual contraction of an object of figure as it extends backward from the picture plane at an angle approaching the perpendicular
Bilateral Symmetry
Term used when the overall effect of a composition is one of absolute symmetry, even through there are clear discrepancies side to side
Absolute symmetry
Term used when each half of a composition is exactly the same
Asymmetry Balance
Balanced achieved in a composition when neither side reflects or mirrors the other
Scale
The comparative size of an object in relation to other objects and settings
Proportion
In any composition, the relationship between the parts ti each other and to the whole
Rhythm
An effect achieved when shapes, colors, or a regular pattern of any kind is repeated over and over again
Chiaruscuro
In drawing and painting on a 2 pi, the use of light and dark to create the effect the of three-dimensional, molded surfaces
Tenebrism
From the Italian tenebroso, meaning murky, a heightened form of chiaroscuro
Intensity/Saturation
The relative purity of a colors hue and a function of its relative brightness or dullness; also known as saturation
Tint
A color of hue modified by the addition of another color resulting in a hue of a lighter value, in the way, for instance, that the addition of white to red results in pink
Shade
A color of hue modified by the addition of another color, resulting in a hue of a darker value, in the way, for instance that the addition of black to red results in maroon
Hue
A color, as found on a color wheel
Iconography
The study or description of images and symbols
Canon
The 'rule' of perfect proportions for the human body as determined by the Greek sculptor Polykleitos in a now lost work, known as the Canon, and based on the idea that each part of the body should be a common fraction of the figures total height
Golden Section
A system of proportion developed by the ancient Greeks obtained by dividing a line so that the shorter part is to the longer part as the loner part is to the whole resulting in a ratio that is approximately 5 to 8
Vanishing Point
The linear perspective, the point on the horizon line wher parallel line appear to converge
Focal point
In a work of art, the center of visual attention, often different from the physical center of the work
Optical Painting/ Op art
An art style particularly popular in the 1960s in which line and color are manipulated in ways that stimulate the eye into believing it perceives movement
Outline
The edge of a shape or figure depicted by an actual line drawn or painted on the surface
Figure 7: Claude Monet
Le Pont de l'Europe, Gare Saint- Lazare 1877
Oil on Canvas
Figure 15: Pablo Picasso
Les Demoiselles d'Avignon 1907
Oil on Canvas
Figure 39: Jan van Eyck
The Marriage of Giovanni Arnolfini and His Wife Giovanna Cenami 1434
Oil on Wood
Figure 40: Jan van Eyck
The Marriage of Giovanni Arnolfini and His Wife Giovanna Cenami (detail) 1434
Oil on Oak Panel
Figure 47: Edouard Manet
Luncheon on the Grass (Le Dejeuner sur l'herbe) 1863
Oil on canvas
Figure 49: Marcel Duchamp
Nude Descending a Staircase, No 2. 1912
Oil on Canvas
Figure 54: Michelangelo
David 1501-1504
Copy of original
Figure 63: Andy Goldsworthy
June, 5, 1991
Hazel Leaves (each stiched to next with grass stalks/ gently pulled by the river/ out of a rocl pool/ floating downstream/ low water)
Scaur Water
Figure 73:Vincent van Gogh
The Starry Night 1889
Oil on Canvas
Figure 99: Leonardo DaVinci
The Last Supper, c. 1992
Mural, Oil and tempura on plaster
Figure 124: Artemisia Gentileschi
Judith and Maidservant with the Head of Holofernes, c. 1625
Oil on Canvas
Figure 159: Alexander Calder
Untitled, 1976
Aluminum and steel
Figure 172: Jackson Pollock
Autumn Rhythm, 1950
Figure 174: Jackson Pollock
No. 29, 1950 1950
Oil on Canvas, expanded steel, string, glass, and pebbles on glass
Figure 200: Chess Oldenburg and Coosie van Burgen
Spoonbridge and Cherry, 1988
Stainless steel and aluminum painted with polyurethane enamel