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| Question | Answer |
| Aesthetics | Branch of philosophy concerned with the feelings aroused in us by sensory experiences, experiences through sight, hearing, touch, taste, and smell. Our responses to the natural world and to the world we make. What art is, how and why it affects us are some of the issues that aesthetics addresses. |
| Neolithic Era | Stonehedge was erected in this era. Neolithic era is named for the new kinds of stone tools that were invented but it also saw important advances in domestication of animals and crops and the development of the technology of pottery. |
| Selective perception | Focusing on the visual information we need for the task at hand, but putting everything else into the background |
| Most important key to looking at art | Is to become aware of the process of looking itself. To notice detail and visual relationships, to explore associations and feelings they inspire, to search for knowledge, and to try to put what we see into words. |
| Creativity | The ability to produce something that is both innovative and useful within a given social contexts. |
| Six step process to creating art | 1. Look at the object or event. 2. Become aware of our looking 3. We ask questions and explore associations. 4. Bring our experience and knowledge 5. Interrogate our feelings and create a meaning |
| The Arts and Crafts movement came about as a reaction to... | The Industrial Revolution |
| Fine arts | painting, sculpture, ..architecture, music and poetry |
| Crafts | bookbinding, woodworking, pottery |
| When clay is mixed with water it becomes | Plastic. Moldable and cohesive |
| To ensure performance of clay | It must be fired in a kiln at 1,200-2,700 degrees F. *Firing changes the chemical composition so that it can never again be made plastic |
| Earliest known Ceramics | From China dates as early as 20,000 years ago. |
| Slab construction | Rolls out clay into a sheet, allows it to dry slightly. The sheet can then be handled in many ways (curled into cylinder, draped over a mold to make a bowl, shaped into free-form, or cut into shapes that can be pieced together) |
| Coiling | Rolls out rope-like strands of clay, then coils them on top of one another and joins them together. |
| Fastest method of creating a hollow rounded form: | Potter's wheel. As the clay turns on the wheel the potter uses hands to "open" lift the clay, a process called THROWING -always produces a round or cylindric form |
| Porcelain | Ceramic made by mixing kaolin, a fine white clay. When fired elements make a glassy substance |
| Glass | Made from silica, or sand. Addition of other materials can affect color, melting, strength ect. |
| When heated the glass becomes... | molten |
| Most common way to shape a glass vessel: BLOWING | Dips up molten glass at the end of a long metal tube and blows the other end to produce a glass bubble that can be shaped or cute while it is hot. |
| Stained glass | Made for windows, lampshades, and other structures for light to pass through. |
| Stained glass is made by | Cutting sheets of glass of various colors into small pieces, then fitting them together to form a pattern. Often segments are joined by strips of lead. 12th and 13th century Europe = golden age for stained glass |
| Metal: Casting | Metal can be shaped by heating it to a liquid state and pouring it into a mold, process called casting. |
| Another ancient technique: Forging | Metal is shaped by hammer blows. |
| Most common woodmaking product is | furniture |
| Animal fibers | silk wool, and hair of goats/alpacas |
| Vegetable fibers | cotton, flax, riffia, sisal, rushes, and various grasses. |
| Fibers techniques | Spun into yarn and woven into textiles. Pressed into felt. Twisted into rope or string. Plaited to make baskets and hats. |
| Art of basketry is highly valued by | Native American people. |
| Fiber art: Textiles | Very first textiles probably produced by felting. Technique in which fibers are matted and pressed together. |
| Weaving | Involves 2 sets of parallel fibers at right angles to each other and interlacing one set through the other in an up and down movement , generally in a loom or frame. One set is held taut, this is called the warp. The other set known as the weft/woof is interwoven through the warp to make a textile. |
| Ivory | May refer to the teeth/tusks of animals. *Elephant tusks most widely sought after |
| Jade | Nephrite and Jadeite Known for: Extreme hardness, ice-cold touch, and their translucent beauty. |
| Laquer | Made from the sap of a tree that originally only grew in china. Sap hardens into a smooth glass-like coating. Technique takes patience, needs lots of layers to build a substantial one. |
| Japanese technique for lacquer | Maki-e. Powdered gold or silver is applied to the lacquer surface before it has dried. |
| Art and Beauty | During the 18th century, art and beauty were discussed together because they were both felt to provide pleasure. Pleasure was intellectual and we perceived it through disinterested contemplation |
| Disinterested contemplation | "Disinterested" meant that we set aside any personal, practical sake we might have in what we are looking at. For example, a peach to see if it's ripe enough to eat. We are contemplating it with a direct personal interest. If we step back and admire its color, texture, and roundness with no thought of eating it then we are contemplating it disinterestedly. If we take pleasure, then the peach is beautiful. |
| Outsider art | Selt-tought artists |
| Representational art | Represents the visible world, faithful to visible experience. Naturalistic, how texture drapes, how light shines on objects. |
| Non-representational art | Vasily Kandinsky was a pioneer. (non-objective) Art that decried any use of the visible world as a starting point. Abstract: Begins with starting point, then simplified and exaggerated parts may be no longer recognizable |
| Stylization | Representational art that conforms to a preset style or set conventions for depicting the world. (Much of ancient egypts work with how they draw hands) |
| Style | Characteristics or group of characteristics that we recognize as constant, reoccurring, or coherent. (always draw about a certain thing, draw in a certain fashion, or certain color combinations) |
| Form | The way the work of art looks (size shape and colors) |
| Content | What the work is about, or the message. "A girl in her chair.." Subject matter: object or events the work depicts |
| Iconography | "describing images" identifying, describing, and interpreting subject matter. |
| Context | Web of connections to the larger world of human culture. Circumstances: life of the creator, tradition it grows from and responds to, to the audience it was made for, and to the society to which it circulated. |
| Iconoclasm | "Image-breaking" Taliban ordered statues to be destroyed all over Afghanistan. |
| Outline | Defines a two dimensional shape |
| Contours | Boundaries we perceive of three dimensional forms. Contour lines = lines we draw to record those boundaries |
| Diagonal lines | Signify action |
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