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HVC 1
Humanities
| Question | Answer |
|---|---|
| The historical revival of Classical culture | The Renaissance |
| elevated intellectual life over religious faith | Chinese humanism |
| a monomyth or a world myth | The hero's journey |
| proceeds from particular facts to a general conclusion (or from effect to cause). | Inductive reasoning |
| is considered art because it is with the aesthetic effect of structures in their surrounding environment | Architecture |
| The ideas of the Renaissance are most commonly seen as paving the way for | Age of Enlightenment |
| was a Renaissance sculptor | Donatello |
| This philosopher is best known for his argument that a life guided by reason and virtue would lead to happiness. | Aristotle |
| An art technique that uses realistic imagery to create the illusion of three dimensions | trompe l'oeil |
| In the Iliad, the poet Homer uses the phrase "the wine-dark sea." This is an example of an author using: | a metaphor |
| Renaissance artists signing their work reflects | celebration of the individual |
| I. The Protestant Reformation II. The Great Schism III. Popular heretical movements | caused a decline during the Renaissance of the power and authority of the Roman Catholic Church |
| illustrates Renaissance humanism's stress on engagement with the world | "The whole glory of man lies in activity." |
| the study of the creative and intellectual contributions of human cultures | Humanism |
| use of a symbol, object, or image to represent something else (that is, a concept or idea | Symbolism |
| a change of position, location, or timeframe; sense of motion, action, or time created in a work of art; distinct compositional units of a symphony; broad thematic social and artistic concerns of a given time period as expressed in its works of art | Movement |
| the branch of formal philosophy concerned with the nature and limits of human knowledge | Epistemology |
| the environment and context in which a creative work is set or takes place | Setting |
| the hero's journey archetype that appears in all cultures | Monomyth |
| the science and art of designing buildings and other structures | Architecture |
| the Buddhist guide to a life of peace and harmony including eight directives for living a "right" life | The Eightfold Path |
| a conception of what is artistically valid or beautiful in art, culture, or nature | Aesthetics |
| variation of the length and accentuation of a series of sounds or movements over time; in poetry, the arrangement of spoken words alternating stressed and unstressed elements | Rhythm |
| the position or perspective from which something is viewed or related | Point of view |
| employment of evocative images in works of art, especially poetry and literature, where words can summon up "mental pictures" for the reader | Imagery |
| the combination of thesis and antithesis which produces a new and higher level of truth | Synthesis |
| a mythic ceremony or ritual found in early societies designed to influence the behavior of deities or supernatural forces | Sympathetic magic |
| a challenge to or rejection of the orthodox doctrines of a religion or church | Heresy |
| the basic element of music, also called a note; it is used to construct a melody | Tone |
| a figure of speech in which something is explained in terms of something else | Metaphor |
| an experience of beauty that inspires a feeling of pleasure which is its own justification | Aesthetic experience |
| reasoning from the general to the particular (or from cause to effect) | Deductive reasoning |
| the systematic investigation of fundamental questions concerning such matters as existence, reality, consciousness, knowledge, truth, and justice | Philosophy |
| Greek term for platonic love | Agape |
| thinking in a linear, step-by-step manner about ideas or problems | Logic |
| a philosophy which asserts that the greatest happiness in life is found in avoiding pain | Epicureanism |
| the emblematic mythic characters, images, plot patterns, symbols, and buried assumptions shared across cultures | Archetypes |
| set of facts or circumstances that surround a work of art and help us determine and clarify its meaning | Context |
| a method of designing controlled experiments, gathering data, and developing and testing hypotheses about the natural world | Scientific method |
| characteristics of a work of art that identify it with a particular artist, region, artistic movement, or historic period | Style |
| the study of the moral values of an individual, group, or culture | Ethics |
| reasoning that assumes the truth of an idea can be validated by its practical outcome | Pragmatic reasoning |
| an analytical, rational, objective reaction | Apollonian response |
| Buddhist discipline that emphasizes selfless action on behalf of others | Mahayana |
| a term describing an individual with broad knowledge and versatile talents spanning many intellectual and artistic disciplines | Renaissance man |
| a study derived from experiment and observation rather than theory | Empirical study |
| a colorful, image-filled, metaphor-rich use of language to describe art or life | Figurative explanation |
| the systematic propagation of information promoting a doctrine or cause | Propaganda |
| congruity or compatibility of parts with one another and with the whole; the state of all elements being in perfect balance | Harmony |
| the cultural movement of the Renaissance, based on Greek and Roman classic literature, that emphasized the dignity, worth, and rationality of humankind | Classical humanism |
| a spontaneous, unstructured, creative, passionate reaction | Dionysian response |
| an artistic medium that uses the motion picture as a vehicle for story telling and other creative expression | Cinema |
| a style of painting that creates the optical illusion of three dimensionality | Trompe l'oeil |
| reasoning that proceeds from particular facts to a general conclusion | Inductive reasoning |
| traditional stories of a people or culture that serve to explain some natural phenomenon, the origin of humanity, or customs or religious rites | Myths |
| Greek term for erotic love or lust | Eros |
| a period in Western history, from the 14th through the 16th centuries, marked by a revival of interest in the culture of Greco-Roman antiquity and a flourishing of artistic and intellectual achievement | Renaissance |
| the mythic quest in pursuit of some destination or goal whose attainment will lend greater meaning to life | The Hero's Journey |
| the thousand-year period in European history from the fall of the Roman Empire to the dawn of the Renaissance | Middle Ages |
| Langston Hughes | An American poet who helped establish "jazz poetry"? |
| gouache | A watercolor painting to which an opaque white has been added |
| Photography | An artistic discipline that fosters Pictorialism |
| Symmetry | exact duplication of elements (shapes, forms, etc) on either side of a central axis |
| A mobile | a type of kinetic sculpture in which parts move, often by air currents |
| Eclecticism | a movement that stresses the inclusion or combination of several different styles in one composition or work of art |
| formal | The elegant gardens at Versailles are an example of ___________ landscape design |
| Illuminating the spiritual | The Baroque composer would believe that he was______ |
| Political and social commentary | function of art is best reflected in an anti-war protest song |
| shading and perspective | Artists often employ _______________to achieve the effect of three-dimensions on flat surfaces. |
| repetition | is the use of the same visual element several times in a work of art |
| intensity | The strength, or purity of a color |
| harmony | is the natural and comforting arrangement of visual elements. |
| Representing the world | purpose of art is most clearly reflected in a documentary on the NASA space shuttle program. The space shuttle documentary primarily provides a record of the world. |
| asymmetry | The uneven distribution of elements throughout an artwork is |
| space | A sense or feeling of depth, either actual or implied, is called |
| Line | has the properties of direction, width and length. |
| palette | An artist's use of color is sometimes called _____________. |
| Figurative | In two-dimensional art, texture is ______________. |
| Unity | _______________ makes a work of art feel cohesive and finished, with all the elements looking as though they belong together |
| Historical artifact | A museum collection of 19th century Wedgewood china would reflect the______ artifact function. |
| Aquatint | ______________ is a method of etching that imitates the broad tints of a water color. |
| Lithography | is a planographic process |
| Alfred Stieglitz | This American photographer was a leading advocate of Pictorialism |
| screenprinting | Serigraphy is also known as ____________. |
| Photography | _as a visual art requires the photographer to design an image, compose an image, and execute an image. |
| tempera | A water-based paint that uses egg, glue, or casein as a binder is called: |
| acrylic paint | One advantage of this media for painting is that it does not yellow with age. |
| Chiaroscuro | This technique creates the illusion of depth through gradations of light and shade |
| Group f/64 | Straight or pure photography was advocated by ____ |
| Stippling | In drawing, using dots for tone, texture, and shading is called __________. |
| Trompe l'oeil | Two-dimensional art that is so naturalistic that it appears to have depth and distance has been dubbed by the French ________________. |
| Intaglio | The printmaking technique of ___________ prints an image from a recessed design incised or etched into the surface of a plate. |
| scale | The size or apparent size of an object seen in relation to other objects, people, or its environment is: |
| Relief sculpture | A sculpture employing three-dimensions attached to a background and meant to be seen from one side is called: |
| Central Park (NYC) | Frederick Law Olmstead is known for his design of: |
| cantilever | A projecting beam or bracket stabilized by the weight of the wall from which it extends is called a: |
| Manipulation | ______________ is when a sculptor shapes the material by hand. |
| found object sculpture | Marcel Duchamp's Bicycle Wheel is an example of a: |
| Substitution | When a sculptor casts an artwork, he or she is using the process of _______________. |
| Mobile | A kinetic sculpture in which parts move, often by air currents, is called: |
| key factors in landscape design | the function of the design,those for whom the spaces are created and the influence of the particular site and surroundings |
| Functionalism | Architects who design buildings based on the purpose of the structure are following ___________________. |
| Collage | a composition made of various materials (as paper, cloth, or wood) glued on a surface |
| Perspective | the representation of objects receding into the distance in two-dimensional art |
| Intensity | the strength, or purity of a color |
| Mass | the size, shape, and volume of three-dimensional forms |
| Compressive strength | ability of a material to withstand crushing |
| Negative | mold from which a sculpture is cast |
| Glyptic | sculpture which emphasizes the substances or materials from which it is made |
| Substitution | when the sculptor molds or casts an artwork |
| Watercolor | a vivid water-based paint, usually applied to paper, with outstanding brilliance and translucence; also, term for resulting artwork |
| Weathering | the effect of the weather/environment on the surface of an artwork |
| Art | skill and imagination used to create or produce aesthetic objects |
| Oil paint | a paint made of color pigments mixed in slowly drying oil; its main binding agent for pigment is linseed oil |
| Scale | the size or apparent size of an object seen in relation to other objects, people, or its environment |
| Texture | the surface quality (roughness or smoothness) of materials, either actual or implied |
| Low relief | sculptural relief that projects very little from the background; also called bas-relief |
| Serigraphy | a printing technique that forces ink through a stencil (image) on a screen stretched with a fine silk or similar fabric; also called silk-screening or screen-printing |
| Space | a sense or feeling of depth, either actual or implied |
| Focal area | the place to which a viewer's eye is drawn in a work of art |
| Juxtaposition | the side-by-side placement of objects in an artwork or composition |
| Subtraction | when the sculptor carves or cuts away unwanted material to create the work |
| Hue | the common name of a color (red, blue, green, yellow) and its position in the spectrum or on the color wheel |
| Capital | a decorative device generally placed at the top of a column as a transition for the eye |
| Color | the perception of reflected or emitted light in terms of hue, value, and intensity |
| Dome | a common structural element of architecture resembling the hollow upper half of a sphere |
| Relief sculpture | a sculpture employing three-dimensions attached to a background and meant to be seen from one side |
| Ephemeral | sculpture designed to make a statement and then cease to exist |
| Sunken relief | sculptural relief in which the image or design is modeled below the original surface of the background, which is not cut away |
| High relief | sculptural relief in which forms extend from the background to at least half their depth |
| Intaglio | a printing technique in which an image is printed from a recessed design incised or etched into the surface of a plate |
| Value | the relative lightness or darkness of color |
| Graphite | a soft form of carbon used in pencils |
| Aerial or atmospheric perspective | the use of light, atmosphere, and haziness to indicate depth or distance |
| Balance | a sense of equilibrium in an artwork, achieved through weight, attention, or attraction of visual element |
| Rhythm | the ordered recurrence or repetition of elements |
| Artistic form | elements (lines, shapes, colors) of a work of art organized to effect participants |
| Proportion | the relative relationship of shapes or forms to one another in regards to size, height, width, length, or depth |
| Impasto | the thick application of paint creating a textured surface on the canvas |
| Fresco | a painting technique that applies water-based paint to a wet-plaster surface; also, resulting artwork |
| Manipulation | when a sculptor shapes the material by hand (modeling clay or other materials) |
| Variation | how often an element is used and the relationship of one element to another |
| Aquatint | a method of etching (intaglio) that imitates the broad tints of a water colo |
| Unity | when all elements in a work of art give a sense of oneness or self-contained completeness |
| Symmetry | the exact duplication of elements (shapes, forms, etc) on either side of a (usually imaginary) straight-lined central axis |
| Dynamics | when artwork creates a sense of motion through line, form, and juxtaposition |
| Pastel | a soft, colored chalk stick or crayon made of pigments and a gum binder, usually applied to paper; also, resulting artwork |
| Encaustic | a painting technique which originated in ancient times, using pigments mixed with melted beeswax as a binder |
| Form | the shape or mass of an object within an artwork or composition |
| Artifact | a work of art from a specific historical time or place |
| Addition | when a sculptor adds or combines material (sometimes called built sculpture) |
| Repetition | the recurrence of the same visual element in a work of art |
| Linear perspective | the use of foreshortening and a vanishing point to create the illusion of depth |
| Relief | in printing, a technique in which the intended printing surface is left raised, with remaining areas cut away |
| Eclecticism | the inclusion or combination of several different styles in one composition or work of art |
| Drypoint | a printmaking technique (intaglio) involving drawing directly onto the surface of a metal plate with a sharp, pointed tool, often with a diamond point |
| Tempera | a water-based paint that uses egg, glue, or casein as a binder; it dries with a flat, dull finish, which means it is not as luminous as oil paint |
| Articulation | a way of connecting the parts of a work of art |
| Palette | the range or set of colors characteristic of a particular artist |
| Tensile strength | ability of a material to withstand bending |
| Shifting perspective | when a viewer considers foreground and background independently and recognizes the separation between them |
| Linear sculpture | a sculpture employing two-dimensional materials |
| Acrylic | a paint made of color pigments with a synthetic polymer as a binder; it does not darken or yellow with age |
| Found object | when art is assembled from common every day items |
| Gouache | watercolor to which an opaque white has been added; also, resulting artwork |
| Full round sculpture | a sculpture employing three-dimensions and meant to be viewed from any and all angles |
| Functionalism | the belief that architects should design a building based on the purpose of that building |
| Content | the meaning of the work of ar |
| Lithography | a printing technique employing the antipathy of oil and water; a flat surface with a design area (image) that is ink-receptive is printed and the non-printed area is ink-repellent |
| Line | the path of a moving point through space |
| Asymmetry | the uneven distribution of elements throughout an artwork |
| Daguerreotype photography | named after its French inventor Louis Daguerre, an early (1839) photographic process where an image is made directly onto a light-sensitive silver-coated metallic plate, without using a negative |
| Paleolithic period | Cave paintings allowed the earliest visual artists to imitate the world around them and marked the development of abstract thinking in human cognition. |
| Albrecht Dürer | _____ is categorized as a Reformation artist |
| Mannerism | art movement of the Late Renaissance that emphasized artificiality, clashing colors, and emotional themes |
| abstract art | art that departs from natural or realistic appearances |
| Victorian photography | photography in the 19th century that experimented with realistic portraits and images of literary and biblical scenes |
| Neolithic art | art of the Late Stone Age, circa 8,000-3,000 B.C.E. |
| Dadaism | anti-establishment artistic movement that emerged in Europe in reaction to the horrors of World War One |
| prehistoric art | art of preliterate humans, roughly until 500 B.C.E. |
| Modernism | artistic movements of the late 19th and 20th centuries which challenged traditional representational art forms and developed new styles and forms |
| Harlem Renaissance | period of vibrant African-American cultural and intellectual life during the 1920s and 1930s, centered in New York City's Harlem neighborhood |
| Post-Modernism | art style which embraces an eclectic combination of all styles and periods in works of art and does not differentiate between high art and popular (or low) art, often mixing informal and formal elements |
| Minimalism | art movement of mid-20th century that emphasized a nonrepresentational style of sculpture and painting |
| Realism | art movement of second half of 19th century that emphasized objective portrayals of the world with a critique of the established social and political order; response to idealized Romantic art |
| ancient Mesopotamian art | artwork from successive civilizations found between the Tigris and Euphrates rivers (the Sumerians, Akkadians, Babylonians, and Assyrians), circa 9,000-500 B.C.E. |
| ancient Egyptian art | artwork from lower Nile Valley civilization, circa 5,000-1,350 B.C.E. |
| illuminated manuscript | text that is decorated with ornamental designs, miniatures, or lettering, often with gold leaf or silver |
| Corinthian order | the most decorative of the classical Greek architectural styles, featuring a fluted column shaft, capitals with flowers and leaves below a small scroll, and a large base; used more by the Romans |
| ancient Greek art | artwork from Classical Greece, circa 8,000–146 B.C.E. |
| microliths | small stone tools, usually made of flint or chert, from the Mesolithic period |
| Cubism | art movement of the early 20th century that represented a subject from multiple angles, using simplified geometric forms |
| Post-Impressionism | art movement of the early 20th century that while influenced by Impressionism emphasized a greater concern for expression, structure, form, and emotional response |
| Neoclassicism | art movement of 18th century that drew on Greek and Roman art for models of harmony, idealized realism, and reason |
| Pictorialism | a school of photography that employed soft focus, special filters and lens coatings, darkroom manipulation, and innovative printing processes to try to match the aesthetic effects of painting and printmaking |
| megaliths | large stone monuments of the Neolithic period (such as Stonehenge) |
| Renaissance | period in Western history, from the 14th through the 16th centuries, marked by a revival of interest in the culture of Greco-Roman antiquity and a flourishing of artistic and intellectual achievement |
| Rococo | late Baroque artistic style that was lighter and more playful and used ornate decoration, pastel colors, and asymmetrical arrangement of shell-like curves |
| Reformation art | art movement of the 16th century, largely in Northern Europe, that reflected religious views of Protestant Reformation |
| Venus figurines | Paleolithic art objects depicting women with exaggerated hips and breasts; thought to be portable fertility totems. |
| Expressionism | art movement of early 20th century that emphasized subjective feelings above objective observations and focused on conveying emotions |
| Romanticism | art movement of early 19th century that stressed passion, emotion, and exotic settings with dramatic action; response to rationalism of Neoclassicism |
| Bauhaus | German art and architectural style of early 20th century known for its simplicity, functionalism, and craftsmanship |
| Geometric Abstraction | art movement of the early 20th century that stressed the two-dimensionality of painting as observed subjects were converted into geometric shapes |
| cave paintings | Paleolithic paintings of scenes of hunting or fertility, found in caves in France, South Africa, and other regions. |
| Fauvism | art movement of the early 20th century that emphasized spontaneous, bold reactions to nature and employed vibrant, wild colors |
| Ionic order | classical Greek architectural style that features a fluted column shaft, capitals with volutes (spiral scroll-like ornaments) and a large base |
| Paleolithic art | art of the hunter-gatherer nomadic tribes of the Old Stone Age, circa 40,000-10,000 B.C.E |
| Doric order | the simplest of the classical Greek architectural styles, featuring unadorned columns with no base |
| ancient Persian art | artwork from a number of successive Persian civilizations (Achaemenian, Seleucid dynasty, Parthian, Sassanian), circa 3500-250 B.C.E. |
| Baroque art | art movement of the 17th and early 18th century supported by the Catholic Church that emphasized religious fervor, realism, and theatrical architecture |
| Mesolithic art | art of the Middle Stone Age, circa 10,000-8,000 B.C.E. |
| Pop Art | art movement of mid-20th century which emphasized existing popular images and cultural artifacts, often mimicking mass-produced consumer products |
| Surrealism | art movement of the early 20th century influenced by Freud's focus on dreams that assembled realistic forms in fantastical contexts |
| Gothic art | artwork of Central and Northern Europe which reflected Christian, and then secular, themes, from mid-12th to the 15th century |
| Impressionism | art movement of the late 19th - early 20th century that emphasized simplified composition and the effect of light and color to capture a painter's visual impression |
| Roman art | artwork produced by Roman civilization, circa 500 B.C.E.–476 C.E |
| Abstract Expressionism | art movement of mid-20th century that emphasized spontaneous and dramatic personal expression in large abstract paintings |
| Art Nouveau | art movement of the late 19th century - early 20th century that favored sinuous lines, curves, and organic motifs, such as plants and flowers |
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