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Art test 1

Art appreciation, chap 1, 2, 3,

Question	Answer
Art	THE CONSCIOUS USE OF SKILL AND CREATIVE IMAGINATION ESPECIALLY IN THE PRODUCTION OF AESTHETIC OBJECTS; THE SKILLFUL PRODUCTION OF THE BEAUTIFUL IN VISIBLE FORM
TWO-DIMENSIONAL ART	WORKS OF ART THAT EXIST IN 2 DIMENSIONS. THAT CONSIST OF A FLAT PLANE AND ARE CHARACTERIZED BY HEIGHT AND WEIGHT.
THREE-DIMENSIONAL ART	WORKS OF ART THAT EXIST IN THREE DIMENSIONS; THEY CONSIST OF HEIGHT, WIDTH AND DEPTH
REPRESENTATIONAL ART	FIGURATIVE. ART THAT ATTEMPTS TO REPRESENT WHAT IS SEEN IN THE WORLD.
DEGREES OF REPRESENTATION:	1. REALISM 2. IDEALIZATION 3. STYLIZATION 4. ABSTRACTION
REALISM	ACCURATE DEPICTION OF THE NATURAL WORLD.
IDEALIZATION	TRANSFORMING THE REAL WORLD SO IT APPROXIMATES ONE'S IDEA OF PERFECTION.
STYLIZATION	EMPHASIZES DESIGN RATHER THAN EXACT REPRESENTATION WHEN WORKING WITH NATURAL FORMS.
ABSTRACTION	EXTRACTING THE ESSENCE OF REAL OBJECTS RATHER THAN FAITHFULLY REPRESENTING THEIR SURFACE APPEARANCE.
NON-REPRESENTATIONAL	NO REFERENCE IS MADE TO OBJECTS IN THE REAL WORLD.
FINE ARTS	ORIGINALLY INTENDED TO BE VIEWED AESTHETICALLY (FOR BEAUTY)
APPLIED ARTS	PRIMARY FUNCTION IS ONE OF USEFULNESS. (SUCH AS BASKETS, VASES, CERAMICS)
PRIVATE ART	WORKS OF AN INTIMATE SCALE MADE FOR PRIVATE CONTEMPLATION
PATRONS	FUND THE ART WORKS AND BUYS THE ARTWORK
PUBLIC ART	ART OFTEN COMMISSIONED BY GOVERNMENTAL OR LARGE ORGANIZATIONS TO BE DISPLAYED FOR ALL IN SOCIETY TO SEE.
CONTENT OF A WORK OF ART	ITS MEANING, INCLUDING THE SUBJECT MATTER, EMOTIONS, IDEAS, SYMBOLS, STORIES OF SPIRITUAL CONNOTATION IT SUGGESTS
SOCIOPOLITICAL CONTENT	ART THAT SEEKS TO ENGAGE IN THE SOCIAL AND POLITICAL ENVIRONMENT OF ITS TIME. (HAPPENING IN THE WORLD RIGHT NOW)
CORPORATE COLLECTIONS	OFTEN SHOW THAT A COMPANY IS BOTH WEALTHY AND WORLDLY AND SOPHISTICATED.
GOVERNMENTAL COMMISSIONS	CAN BE USED TO PUT FORWARD A POSITIVE IMAGE OF A GOVERNMENT AND ITS CORRESPONDING SOCIETY
SPIRITUAL PURPOSES	CREATED TO SERVE SPIRITUAL FUNCTIONS SUCH AS INSPIRE OR EDUCATE THE POPULACE OR TO EVOKE OR APPEASE DEITIES.
INNER EXPERIENCES	PERSONAL EXPRESSION OF THE EMOTIONS WITHIN THE ARTIST. OFTEN CAN BE PERSONAL STORIES AND EXPERIENCES. THESE WORKS CAN ALSO DEPICT THE ARTIST;S OWN PERSONAL SPIRITUAL VISION.
NAIVE/OUTSIDER ARTIST	AN ARTIST THAT HAS NOT BEEN FORMALLY TRAINED IN THE ARTS.
MODELS FOR JUDGING ART	1. FORMALIST APPROACH 2. EXPRESSIVIST APPROACH 3. INSTRUMENTALIST APPROACH
FORMALIST APPROACH	BASED UPON HOW THE ARTIST MANIPULATES ELEMENTS OF DESIGN, ORGANIZES THEM ACCORDING TO UNIFYING PRINCIPLES AND WIELDS THE MEDIA.
EXPRESSIVIST APPROACH	EMPHASIZES THE ABILITY OF THE ART TO COMMUNICATE FEELINGS AND IDEAS. ORIGINALITY, INTENSITY AND SINCERITY ARE GIVEN GREATER WEIGHT THAN DESIGN AND TECHNIQUE.
INSTRUMENTALIST APPROACH	ANALYZES ART PRIMARILY ON THE BASIS OF HOW IT FULFILLS A RELIGIOUS, POLITICAL OR SOCIAL PURPOSE.
VISUAL ELEMENTS	THE "THINGS" THAT ARTISTS USE TO MAKE WORKS OF ART. THEY ARE LIKE THE INDIVIDUAL INGREDIENTS IN A SALAD.
LINE	A MARK THAT IS SIGNIFICANTLY LONGER THAN IT IS WIDE. SEEN BEST IN 2-D AND LINEAR WORK. IT SERVES TO DEFINE SPACE AND FORM.
EDGES	WHERE TWO AREAS THAT ARE TREATED DIFFERENTLY MEET. THESE AREAS ARE OFTEN PERCEIVED AS LINES.
POSITIVE SPACE	FILLED IN AREAS IN THE PICTURE.
NEGATIVE SPACE	UNFILLED AREAS IN THE PICTURE.
CONTOUR LINES	PRESENT THE EXTERIOR OUTLINE OF AN OBJECT. THEY DEFINE THE OUTLINE.
IMPLIED LINE	A LINE THAT IS VISUALLY SUGGESTED BY THE ARRANGEMENT OF FORMS, LIGHTS AND DARKS OR OTHER ELEMENTS IN A WORK OF ART.
EYELINES	THE IMPLIED LINES ALONG WHICH A SUBJECT'S EYES APPEAR TO BE LOOKING IN THE WORK OF ART.
DESCRIPTIVE LINE	SHOWS THE PHYSICAL NATURE OF AN OBJECT WE ARE SEEING AND HOW IT EXISTS IN SPACE.
DECORATIVE LINE	A LINE THAT PROVIDES SURFACE EMBELLISHMENTS OR DETAILS.
MASS	THE SOLID CONTENT OF A FORM
VOLUME	THE SPACE THAT THE MASS OCCUPIES
VISUAL WEIGHT	THE HEAVINESS OF AN AREA
DIRECTIONAL LINE	USED TO STEER THE EYE IN A CERTAIN DIRECTION
RELIEF SCULPTURE	AN IMAGE DEVELOPED OUTWARD OR INWARD FROM A 2-D GROUND.
LOW RELIEF	FIGURES EXISTS ON NEARLY THE SAME PLANE AS THE BACKGROUND.
HIGH RELIEF	HALF OF THE FIGURES' NATURAL SPATIAL DEPTH PROJECTS FORWARD FROM THE BACKGROUND.
FRONTAL WORK	DESIGNED TO BE SEEN SOLELY FROM THE FRONT
THREE DIMENSIONAL ART	IS DESIGNED TO BE SEEN FROM ALL SIDES.
WALK THROUGH WORKS	ARE MEANT TO BE EXPERIENCED COMPLETELY BY THE VIEWER.
CHARACTERISTICS OF 3-D FORMS:	1. CLOSED FORMS 2. OPEN FORMS 3. STATIC FORMS 4. DYNAMIC FORMS
FORMS CAN PROJECT HOW:	OUTWARD(CONVEX) OR INWARD (CONCAVE)
CLOSED FORMS	REFLECT THE RAW MASS FROM WHICH THEY ARE CARVED.
OPEN FORMS	ALLOW MORE COMPLETE 3-DIMENSIONALITY.
STATIC FORMS	APPEAR TO BE STILL, UNCHANGING.
DYNAMIC FORMS	THOSE THAT APPEAR LIVELY, MOVING OR CHANGING.
METHODS OF HOW 2-D ART IS SHOWED	1. OVERLAPPING 2. SHADING AND MODELING
PRINCIPLES OF DESIGN	THE ORGANIZING FACTORS IN THE VISUAL ARTS. (THE ACTUALLY SALAD.)
OVERLAPPING	SHOWING AN OBJECT IN FRONT OF ANOTHER
SHADING AND MODELING	USED IN 2-D ART TO BRING ABOUT A SENSE OF SPATIAL DEPTH.
ORGANIC SHAPE	FREE, REAL WORLD, LIKE TREES
GEOMETRICAL SHAPES	CIRCLES, SQUARES, ETC.
HARD EDGED SHAPES	CLEARLY DELINEATED FROM THE SURROUNDING AREAS BY CONTRASTS IN COLOR ALONG THE EDGE WHERE THEY MEET.
SOFT EDGED SHAPES	EDGES ARE NOT AS PRECISELY DELINEATED.
SPACE	AN INTANGIBLE ELEMENT THAT IS USED BY MANY ARTISTS. THERE ARE DIFFERENT METHODS EMPLOYED BY ARTISTS TO EXPLORE AND DEFINE THE CONCEPT OF SPACE.
3-D ART WORK IN SPACE	AT IT'S CORE 3-D ART PHYSICALLY OCCUPIES SPACE AS IT HAS SPATIAL REALITY.
ARCHITECTURAL FORMS	1. CAN DEFINE SMALL SPACES. 2. HAVE THE CAPACITY TO DEFINE THE SPACE OUTSIDE OF ITS PHYSICAL BOUNDARIES.
SCULPTURES	CAN ALSO BE USED TO DEFINE SMALL SPACES.
2-D ARTWORK SPACE	2-D ARTWORK IS DEFINED AS FLAT AND SUBJECT TO MAKE AN ILLUSION OF SPACE.
GROUND	THE FLAT PLANE OF A 2-D WORK.
FIGURE	OBJECT OR SHAPE ON THE GROUND
FIGURE-GROUND RELATIONSHIP	THE FLAT PLANE OF A 2-D WORK AND THE OBJECT OR SHAPE ON THE GROUND.
PLACEMENT	AN OBJECT LOWER ON THE PICTURE PLAN IS OFTEN CONSIDERED CLOSER TO THE VIEWER.
SCALE SCHANGE	LARGER OBJECTS ARE CONSIDERED CLOSER TO THE VIEWER.
LINEAR PERSPECTIVE	MATHEMATICAL DEVICE TO SHOW SPACE DEVELOPED DURING THE RENAISSANCE.
ONE POINT PERSPECTIVE	ALL LINES THAT RECEDE FROM THE VIEWER CONVERGE TO THE SAME VANISHING POINT.
TWO POINT PERSPECTIVE	PARALLEL LINES CONVERGE TO TWO DIFFERENT VANISHING POINTS
THREE POINT PERSPECTIVE	PARALLEL LINES CONVERGE TO THREE DIFFERENT VANISHING POINTS.
ATMOSPHERIC PERSPECTIVE	SHOWS HOW OBJECTS TEND TO LOSE DEFINITION, VALUE, AND CONTRAST WHEN THEY RECEDE IN SPACE.
POINT OF VIEW	THE ARTIST PLACES THE VIEWER SPATIALLY IN THE PICTURE BY THE POSITION OF THE FIGURES.
SCALE	THE MANIPULATION OF SCALE CAN OFTEN BE USED TO GIVE THE VIEWER A NEW PERSPECTIVE ON A WORK OF ART.
ACTUAL TEXTURE	WE CAN FEEL WITH OUR HANDS.
SIMULATED TEXTURE	VISUAL SENSATIONS OF TEXTURAL QUALITIES ON A SURFACE THAT WOULD ACTUALLY FEEL DIFFERENT IF TOUCHED.
VALUE	THE RELATIVE LIGHTNESS OR DARKNESS OF AN AREA. MOST EASILY PERCEIVED WHEN COLOR HUES ARE NOT PRESENT.
VALUE SCALE	THE GRADATIONS OF VALUE FROM VERY DARK TO VERY LIGHT.
LOCAL VALUE	ACTUAL LIGHTS AND SHADOWS WE SEE ON REAL SURFACES.
INTERPRETIVE VALUE	VALUES THAT ARE MANIPULATED BY THE ARTIST.
LIGHTING	THE METHOD IN WHICH A SUBJECT IS LIT. THIS CAN OFTEN INFLUENCE THE WAY A WORK OF ART IS PERCEIVED BY THE VIEWER.
CHIAROSCURO	THE DEPICTION OF LIGHT AND SHADOW IN 2-D WORK.
COLOR	DERIVES FROM THE VISUAL WAVELENGTHS VISIBLE TO THE HUMAN EYE. THESE ARE COMMONLY CATEGORIZED IN THE TERMS OF RED, BLUE, YELLOW, ETC.
REFRACTED COLORS	LIGHT OR ADDITIVE COLORS.
REFRACTED PRIMARY COLORS	THOSE FROM WHICH ALL OTHER CAN BE DERIVED. RED, GREEN, BLUE-VIOLET.
REFRACTED SECONDARY COLORS	THOSE MIXED FROM THE REFRACTED PRIMARY COLORS. YELLOW, LIGHT BLUE, PINK
REFLECTED COLORS	THOSE CONSISTING OF PIGMENTS (SUBTRACTIVE HUES)
PRIMARY REFLECTED COLORS	RED, BLUE, YELLOW
SECONDARY REFLECTED COLORS	THOSE MIXED WITH THE PRIMARY REFLECTED COLORS. ORANGE, GREEN, PURPLE
TERTIARY COLORS	THOSE MADE FROM THE MIXING OF PRIMARY AND SECONDARY COLORS. EXAMPLE: RED AND PURPLE MAKE RED-PURPLE
WARM COLORS	THOSE THAT REFER TO FIRE AND HEAT (LIKE RED, YELLOW, ORANGE). TEND TO ADVANCE ON THE PICTURE PLAN
COOL COLORS	THOSE THAT ARE ICY WATER. LIKE BLUES AND GREENS. TEND TO RECEDE ON THE PICTURE PLANE(LIKE THE BACKGROUND).
MONOCHROMATIC COLORS	THE USE OF ONLY ONE COLOR OR MAJORITY OF ONE COLOR.
ANALOGOUS COLORS	THE USE OF COLORS THAT LIE NEXT TO EACH OTHER ON THE COLOR WHEEL.
VALUE	IN COLOR IS THE LIGHT AND DARK IN A COLOR HUE.
SATURATION	THE AMOUNT OF PIGMENT IN A COLOR HUE.
NATURAL COLORS	THOSE THAT ARE ACTUAL COLORS OF A WORK OF ART.
APPLIED COLORS	ARE ADDED TO A WORK OF ART.
LOCAL COLOR	BASICALLY THE COLOR OF OBJECTS IN THE REAL WORLD.
ATMOSPHERIC COLOR	THE VIEW OF THE SUBTLE COLOR REALITIES OF THE WORLD.
INTROSPECTIVE COLOR	GUIDED BY THE ARTIST'S INTENT TIN CHOOSING THE COLOR.
KINETIC SCULPTURE	ACTUAL MOVEMENT. WORKS THAT FUNCTION NOT ONLY SPATIALLY BUT THROUGH TIME AS WELL.
ILLUSION OF MOVEMENT	IN 2-D WORKS ACTUAL MOVEMENT IS IMPOSSIBLE SO AN ILLUSION OF MOVEMENT MUST BE PORTRAYED.
VISUAL ELEMENTS ARE OFTEN ARRANGED IN A MANNER.....	WHERE THERE IS A COHERENCE AND UNITY.
REPETITION	REPEATING OF A SINGLE DESIGN ELEMENT
VARIETY	CHANGE IS USED RATHER THAN REPETITION
RHYTHM	THE REPETITION OF CERTAIN ELEMENTS CAN LEAD TO PATTERNS WHICH CAN BE PERCEIVED BY THE VIEWER. THE PATTERN CAN ALMOST BE CONSIDERED MUSICAL IN NATURE.
BALANCE	THE DISTRIBUTION OF APPARENT VISUAL WEIGHTS SO THAT THEY SEEM TO OFFSET ON ANOTHER.
SYMMETRICAL BALANCE	VISUAL WEIGHT IS EQUALLY BALANCED AROUND A CENTRAL POINT
RADIAL BALANCE	VISUAL WEIGHT IS ARRANGED AROUND A CENTRAL POINT IN ALL DIRECTIONS.
ASYMMETRICAL BALANCE	VISUAL WEIGHT OF DISSIMILAR AREAS COUNTERBALANCE EACH OTHER.
COMPOSITIONAL UNITY	USING COMPOSITIONAL ELEMENTS TO HOLD TOGETHER OR CREATE STRONG ATTACHMENTS BETWEEN ELEMENTS WITHIN A WORK.
EMPHASIS	THE PREDOMINANCE OF ONE AREA OF ELEMENT IN A DESIGN.
FOCAL POINT	AWARENESS THAT IS DRAWN TO ONE PARTICULAR POINT OF THE COMPOSITION.
ECONOMY	THE ABILITY TO PARE AWAY EXTRANEOUS DETAILS. EXAPLES ARE LOGOS.
PROPORTION	PLEASING TO THE EYE
RELATIONSHIP TO THE ENVIRONMENT	THE METHOD WHICH A WORK RELATES TO IT'S SELLING CAN GIVE A WORK A MORE COHERENT ASPECT.

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