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| Pregunta | Respuesta |
| Modernism | The various strategies and directions employed in the 20th century - Cubism, Futurism, Expressionism, etc. - to explore the particular formal properties of any given medium |
| Ideology | All the ways we are brain-washed to believe things (i.e. propaganda, convention); a system of ideas and ideals |
| Convention | Behavior that is considered acceptable or polite to most members of a society |
| Critical Thinking | Critical thinking is that mode of thinking in which the thinker improves the quality of his or her thinking by skillfully analyzing, assessing, and reconstructing it. |
| Sayre's Four Roles of the artist | 1. See the world in new and innovative ways. 2. Make a visual record of the people, places, and events of their time/place. 3. Give form to the immaterial (hidden or universal truths, spiritual forces, and personal feelings). 4. Give meaning and aesthetic value to functional objects. |
| Hermeneutic Circle of Understanding | Cycle of understanding > explanation > comprehension. Accepts that one's first impression is neither fixed nor final, but that understanding is a continuous process of inquiry. |
| Semiotics | The study of signs; signifier, signified, sign |
| Sign | The pairing of signifier and signified; (i.e. the stop sign) |
| Signifier | Thing that refers to signified; (i.e. the word "stop") |
| Signified | Thing to which the signifier refers; (i.e. that you must stop at the stop sign) |
| Denotation vs. Connotation | Denotation: Direct or literal meaning of an image Connotation: Meaning associated with or implied by an image |
| Mimesis | Representation or imitation of the real world in art |
| The Great Chain of Being | The chain starts from God and progresses downward to angels, demons (fallen/renegade angels), stars, moon, kings, princes, nobles, men, wild animals, domesticated animals, trees, other plants, precious stones, precious metals, and other minerals. |
| Steps of art criticism | Description, interpretation, evaluation and theorizing. |
| Representational Art | Portrays natural objects in recognizable form |
| Hierarchy of Forms | Form of God > Higher Forms > Lower Forms > Material Objects > Images |
| Abstract Art | The less a work resembles real things, the more "abstract" it becomes |
| Nonobjective/nonrepresentational art | Art that does not refer to the natural world at all |
| Ethnocentrism | When one judges another culture by the standards of one's own culture, leading us to make false assumptions about cultural differences, generalizations, and misinterpretation. |
| Form | The shape, colour, medium, etc. of an artwork |
| Hierarchy of Genres | 1. History Painting 2. Portraiture 3. Genre Painting 4. Landscape Painting 5. Animal Painting 6. Still Lifes |
| Romanticism | A dramatic, emotional, and subjective art arising in the early 19th century in opposition to the strict discipline of Neoclassicism |
| History Painting | History painting is the painting of scenes with narrative content from classical history, Christian history, and mythology, as well as depicting the historical events of the far or near past. These include paintings with religious, mythological, historical, literary, or allegorical subjects |
| Portraiture | Paintings of people that are to show the character and virtues, the qualities of good attributions ("godliness"), allow to see the figure as "a real person", and show the level or status of those in history. Functional objects are always used, often along with gestures, suggestion, and props. (Because the artists were often paid by the patrons, it might not always turn out as a true depiction since they want to look better than they are) |
| Genre Painting | A style of painting depicting scenes from ordinary life, esp. domestic situations. Genre painting is associated particularly with 17th-century Dutch and Flemish artists |
| Animal Painting | An artist who specializes in or is known for their skill in the portrayal of animals, essentially up to about 1900 |
| Still Life | A painting or other two-dimensional work in which the subject matter is an arrangement of inanimate objects, brought together for their pleasing contrasts of shape, color, and texture. |
| Traditional Themes | - Art, Politics, and Community - Art and Spiritual Belief - Art and the Passage of Time - Art and Beauty - Art, Gender, and Identity - Art, Science, and the Environment |
| The Formal Elements of Art | - Line - Space - Light and Color - Texture - Pattern - Time and Motion |
| Line | One of the most fundamental elements of art, it can possess direction, divide things, and reflect movement in nature. |
| Outline | The edge of a shape, depicted by actual line |
| Contour Line | The perceived line that marks the border of an object in space. |
| Implied Line | A line in an artwork that is not physically there but suggested by points in the artwork; created by movement or direction |
| Expressive Line | A kind of line that seems to spring directly from the artist's emotions or feelings; loose, gestural, metaphorical and energetic |
| Autographic Line | Line that is distinct to the artist; signature or recognizable |
| Classical/Analytic Line | Precise, logical, result from conscious reflection and application; in a deliberate and controlled manner. |
| Line of Sight | An imaginary straight line along which an observer looks |
| Composition | The organization of the formal elements in a work of art |
| Two-Dimensional Space | Flat with width and length, no depth |
| Figure vs. Ground | Figure = shape that appears to be resting on ground (positive space) Ground = flat plane upon which lies a figure (negative space) |
| Picture Plane | In perspective, the imaginary plane corresponding to the surface of a picture, perpendicular to the viewer's line of sight |
| Three-Dimensional Space | Uses width, length, and depth, like objects in real life |
| Scale | The comparative size of an object in relation to other objects and settings |
| Three-Dimensional Illusion | Illusion of depth and perspective of objects like in the natural world |
| Atmospheric/Aerial Perspective | Suggests 3D space in the 2D space of the picture plane, and in which forms and objects distant from the viewer become less distinct, often bluer or cooler, and contrast among the various distant elements is greatly reduced |
| Linear/Analytic Perspective | Things perceived as far away are smaller, and all lines converge to a single vanishing point |
| One-Point Linear Perspective | One vanishing point |
| Two-Point Linear Perspective | Two vanishing points |
| Vanishing Point | The point on the horizon line where parallel lines appear to converge |
| Vantage Point | The point where the viewer is positioned |
| Frontal vs. Diagonal Perspective | Vanishing point directly across from vantage point vs. Vanishing point off to the side of vantage point |
| Axonometric vs. Oblique projection | Axonometric = all lines remain perpendicular, no vanishing Oblique = buildings parallel on angle to each other |
| Foreshortening | Portray or show (an object or view) as closer than it is or as having less depth or distance, as an effect of perspective or the angle of vision |
| Light and Colour | The property possessed by an object of producing different sensations on the eye as a result of the way the object reflects or emits light |
| Additive vs. Subtractive Colour | Additive = when adding light hues together, the resulting mixture will be lighter in key and brighter Subtractive = when adding pigment hues together, the resulting mixture will be lower in key and duller |
| Hue | A color, as found on a color wheel |
| Shade | A color modified by the addition of another color, resulting in a hue of a darker value |
| Tint | A color modified by the addition of another color, resulting in a hue of a lighter value |
| Colour Wheel | |
| Texture | The surface quality of a work |
| Actual vs. Implied texture | Physical texture vs. Texture within the painting (i.e. lines of grass) |
| Pattern | A repetitive motif or design |
| Principles of Design | - Balance - Emphasis and Focal point - Scale and Proportion - Repetition and Rhythm - Unity and Variety |
| Balance | The even distribution of weight in a composition |
| Radial Balance | A circular composition in which the elements project outward from a central core at regular intervals |
| Visual Weight | The apparent heaviness or lightness of a shape or form |
| Focal Point | The center of visual attention |
| Afocal Art | Art with no particular focal point |
| Rhythm | Effect achieved when shapes, colors, or a regular pattern of any kind is repeated over and over again |
| Repitition | Where a pattern is repeated over and over again.... creates rhythm |
| Symmetry vs. Bilateral Symmetry vs. Asymmetry | Two halves correspond vs. Overall effect suggests absolute symmetry, while there are clear differences from side to side vs. Neither side reflects the other |
| Proportion | The relationship between the parts to each other and to the whole |
| Divine Proportion |
Image:
Fibonacci_spiral (image/jpg)
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| Classical Composition | |
| Sayre's 7 Steps to Thinking Critically | 1. Identify the artist's decisions and choices 2. Ask questions. Be curious 3. Describe the object 4. Question your assumptions 5. Avoid an emotional response 6. Don't oversimplify or misrepresent the art object 7. Tolerate uncertainty |
| Arms-Length | Keeping at a distance, avoiding political influence |
| Venus of Willendorf |
Image:
willendorf.gif (image/gif)
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| Romulus and Remus | |
| Chartres Cathedral/Rose Window | |
| Assumption of a Virgin: Line of Sight |
Image:
Assump (image/png)
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| The Last Supper: One-Point Perspective |
Image:
Last (image/png)
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| Geurilla Girls | Anonymous feminists who speak activism through art, often with humor |
| Canada Council for the Arts | - Established in 1957 to act as an arts council of the government of Canada - Created to foster and promote the study and enjoyment of, and the production of works in, the arts - Funds Canadian artists and encourages the production of art in Canada - Has supervisory authority over Art Bank |
| Kumano Mandala: Oblique Projection |
Image:
kumano (image/png)
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| Subject matter vs. Content | What images literally depict vs. What images mean |
| The Six Major Art Themes | 1. Art, Politics, and Community 2. Art and Spiritual Belief 3. Art and the Passage of Time 4. Art and Beauty 5. Art, Gender, and Identity 6. Art, Science, and the Environment |
| Visual Literacy | The ability to recognize why you like a certain piece of art and how it communicates to you, and be able to communicate those reasons. |
| Chief form of Islamic art | The fine art of handwriting (i.e. sacred texts) |
| Realism | Representations that closely resemble what the eye sees in the natural world |
| Photorealism | Art so realistic that it appears to be a photograph |
| Sublime | Captures an immensity so large that it could hardly be comprehended by the imagination |
| Naturalism | Descriptive of an artwork that closely resembles forms in the natural world. |
| Iconography | A system of visual images in which the meaning is widely understood by a given culture or cultural group |
| Symbols | Images that represent something more than their literal meaning |
| Creative Process of Seeing | Reception, extraction, inference |
| The Four Steps to Criticizing Art | 1. Describe - internal/external sources of info 2. Interpret - from info into meaning, opinion based on criteria 3. Evaluate 4. Theorize |
| The Art System | Examples are: - individuals making art objects - cooperatives - artist-run-centres - municipal and public galleries -major museums -commercial galleries - art fairs -auction houses |
| Cooperatives and Artist Run Centres | - run by artists - serves artist and public audience - valued for experimentation - peer jury - might have certain themes - new artists may get experience, may not necessarily sell any art |
| Municipal and Public Galleries | - run by arts administrators through the gov't - serves public, broad range of usually contemporary artists (local to international) - values art by ability to inspire public to see the world in new ways |
| Major Museums | -run by "big shots" (world experienced) - serves public collections of culturally important art works, by known living and non-living artists - value for regional/national/global cultural legacy, "excellence", understanding and advancement of knowledge. |
| Commercial Galleries | - run by private business people - serves art buyers, represent both living and dead artists, the commercial owner (for monetary purposes) - sometimes media or regional specific - valued for ability to be bought and sold |
| Art Fairs | - run by countries, states, museums, private organizations - serves countries, states, art dealers, art buyers, and sometimes the artist - valued for being "ground-breaking", or for profit-making capacity |
| Auction Houses | - charge people commission (rates based on what is being sold) - 15% to auction house when buying art pieces - very expensive, for very wealthy people |
| Who funds Cooperatives? | Artist membership holders and public arts funding bodies |
| Who funds artist-run-centres? | Primarily, arts funding bodies |
| Who funds municipal and public galleries? | Arts funding bodies, cities, and municipalities |
| Who funds major museums? | Governments and cities |
| Who funds Commercial galleries? | Owners, artists (50%), and private/corporate companies |
| Who funds Art Fairs? | Governments and corporate sponsors |
| Who funds Auction Houses? | Very wealthy buyers |
| What is to "value art for art's sake"? | To value art as an aesthetic object, to value the beauty of its forms rather than its functional practicality or impact on society |
| Landscape | The depiction of natural scenery, which can evoke different feelings, such as freedom of space, paradise, enlightenment, or warmth. |
| Group of Seven | 1. Franklin Carmichael 2. Lawren Harris 3. A. Y. Jackson 4. Frank Johnston 5. Arthur Lismer 6. J. E. H. MacDonald 7. Frederick Varley (Unofficial members included Tom Thomson and Emily Carr) |
| Art and Beauty | We find beauty in art that is "not of this world", that gives beauty to everyday life (the "good life"), that gives aesthetic value to functional objects (that we might otherwise not find beauty in), and things that we might consider to be for an aesthetic purpose, while other cultures may not (i.e. the kimono) |
| Art and Religion | Art that involves religious rituals and stories, recognizes or celebrates the connection between earth and "heaven", gives religious value to material things, indicates myths of origin and afterlife, or is created as an offering or "thanks" to gods. |
| Iconic | Uses images perceived or known in reality to represent higher beings. |
| Aniconic | Uses images, symbols, or allusional depictions |
| Iconoclastic | Total rejection of figural or symbolic images to represent higher beings |
| Art and Politics | Art that shows social achievements and control (propaganda), symbolizes political beliefs or ideologies, celebrates lives and cause (i.e. soldiers), and praises nations values and politics. This can be through literal depictions (i.e. paintings of battles) or abstract depictions). These are images that speak to the wealthy nations and reuse imagery or themes from the past to express a point. |
| Identity and Subjectivity | Movements in sexuality, ethnicity, lifestyle, change gaze from women to men, specific things to say about humanity |
| Pop culture and Consumer society | Advertising, graffiti, debate between "high art" and "low art", everyday forms that highlight our lives and experiences |
| Mass Media | Transmits information to huge masses of people |
| Post-Modernism | Moved further from tradition, new ideas with traditional forms, theories of philosophies, critical thinking, anthropology |
| Technology | Video and performance art, still frames, sometimes video exclusive, virtual environments, sensory, auditory |
| Art and Social Engagement | Represent current social situations, "repair" social issues, interaction, collaboration, asks questions, fosters human relationships |
| Passive Line | Moves across in a regular and undisturbed way |
| Gestural Line | Emotive line in no particular form |
| Shape | A 2D area measured in terms of length and width; the form of any object or figure |
| Mass | A 3D area measured in terms of length, width, and height |
| Relativity | Shows the depth, shadows, and relative positioning (3D illusions) |
| Chiaroscuro | Use of dark and light to create depth |
| Perspective | The art of drawing solid objects on a two-dimensional surface so as to give the right impression of their height, width, depth, and position in relation to each other when viewed from a particular point |
| Baroque | |
| Contrapposto | |
| Cubism | |
| Expressionism | An art that stresses the psychological and emotional content of the work, associated particularly with German art in the early 20th century |
| Futurism | An early 20th century art movement, characterized by its desire to celebrate the movement and speed of modern industrial life |
| Neoclassicism | A style of the late 18th and early 19th centuries that was influenced by the Greek Classical style and that often employed Classical themes for its subject matter |
| Post-Impressionism | Paintings working with widely different styles, in France during the last decades of the 19th century |
| Post-Modernism | A term used to describe the willfully plural and eclectic art forms of contemporary art |
| Renaissance | The period in Europe from the 14th to the 16th century characterized by a revival of interest in the arts and sciences that had been lost since antiquity |
| Surrealism | A style of art of the early 20th century that emphasized dream imagery, chance operations, and rapid, thoughtless forms of notation that expressed the unconscious mind |
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