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Gateways to Art
Art 100
| Question | Answer |
|---|---|
| academies | Institutions training artists in both the theory of art and practical techniques. (page 35) |
| Bauhaus | Design school founded in Weimar, Germany, in 1919. (page 41) |
| calligraphy | The art of emotive or carefully descriptive hand lettering or handwriting. (page 33) |
| ceramic | Fire-hardened clay, often painted, and normally sealed with shiny protective coating. (page 33) |
| guilds | Medieval associations of artists, craftsmen, or tradesmen. (page 35) |
| ivory | Hard, creamy-colored material from the tusks of such mammals as elephants. (page 43) |
| manuscripts | Handwritten texts. (page 35) |
| medieval | Relating to the Middle Ages; roughly, between the fall of the Roman Empire and the Renaissance. (page 31) |
| medium | The material on or from which an artist chooses to make a work of art. (page 27) |
| mural | A painting executed directly onto a wall. (page 37) |
| neutral tones | Colors (such as blacks, whites, grays, and dull gray-browns) made by mixing complementary hues. (page 43) |
| oil paint | Paint made of pigment suspended in oil. (page 43) |
| patron | An organization or individual who sponsors the creation of works of art. (page 33) |
| A picture reproduced on paper, often in multiple copies. (page 27) | |
| provenance | The record of all known previous owners and locations of a work of art. (page 37) |
| Renaissance | A period of cultural and artistic change in Europe from the fourteenth to the seventeenth century. (page 31) |
| watercolor | Transparent paint made from pigment and a binder dissolved in water. (page 29) |
| abstract | Art imagery that departs from recognizable images from the natural world. (page 59) |
| actual line | A continuous, uninterrupted line. (page 53) |
| automatic | Suppressing conscious control to access subconscious sources of creativity and truth. (page 51) |
| background | The part of a work depicted furthest from the viewer’s space, often behind the main subject matter. (page 55) |
| collage | A work of art assembled by gluing materials, often paper, onto a surface. From the French coller, to glue. (page 57) |
| color | The optical effect caused when reflected white light of the spectrum is divided into a separate wavelength. (page 56) |
| concentric | Identical shapes stacked inside each other sharing the same center, for example the circles of a target. (page 61) |
| conceptual art | A work in which the ideas are often as important as how it is made. (page 49) |
| contrast | A drastic difference between such elements as color or value (lightness/darkness). (page 46) |
| elements | The basic vocabulary of art—line, form, shape, volume, mass, color, texture, space, time and motion, and value (lightness/darkness). (page 46) |
| etching | A printmaking process that relies on acid to bite (or etch) the engraved design into the printing surface. (page 53) |
| facade | Any side of a building, usually the front or entrance. (page 49) |
| figure-ground reversal | The reversal of the relationship between one shape (the figure) and its background (the ground), so that the figure becomes background and the ground becomes the figure. (page 61) |
| highlight | An area of lightest value in a work. (page 58) |
| implied line | A line not actually drawn but suggested by elements in the work. (page 53) |
| line | A mark, or implied mark, between two endpoints. (page 46) |
| negative space | An empty space given shape by its surround, for example the right-pointing arrow between the E and x in FedEx. (page 58) |
| outline | The outermost line of an object or figure, by which it is defined or bounded. (page 47) |
| pattern | An arrangement of predictably repeated elements. (page 57) |
| plane | A flat surface. (page 47) |
| positive shape | A shape defined by its surrounding empty space. (page 58) |
| principles | The "grammar" applied to the elements of art—contrast, balance, unity, variety, rhythm, emphasis, pattern, scale, proportion, and focal point. (page 46) |
| rhythm | The regular or ordered repetition of elements in the work. (page 53) |
| shape | The two-dimensional area the boundaries of which are defined by lines or suggested by changes in color or value. (page 46) |
| space | The distance between identifiable points or planes. (page 55) |
| style | A characteristic way in which an artist or group of artists uses visual language to give a work an identifiable form of visual expression. (page 51) |
| two-dimensional | Having height and width. (page 46) |
| volume | The space filled or enclosed by a three-dimensional figure or object. (page 55) |
| woodcut | A print created from an incised piece of wood. (page 61) |
| axis | An imaginary line showing the center of a shape, volume, or composition. (page 69) |
| bas-relief | A sculpture carved with very little depth. (page 65) |
| composition | The overall design or organization of a work. (page 65) |
| focal point | The center of interest or activity in a work of art, often drawing the viewer's attention to the most important element. (page 69) |
| foreground | The part of a work depicted as nearest to the viewer. (page 65) |
| form | An object that can be defined in three dimensions (height, width, and depth). (page 62) |
| high relief | A carved panel where the figures project with a great deal of depth from the background. (page 65) |
| in the round | A freestanding sculpted work that can be viewed from all sides. (page 64) |
| mass | A volume that has, or gives the illusion of having, weight, density, and bulk. (page 62) |
| negative space | An empty space given shape by its surround, for example the right-pointing arrow between the E and x in FedEx. (page 69) |
| plane | A flat surface. (page 65) |
| relief | A raised form on a largely flat background. For example, the design on a coin is "in relief." (page 64) |
| scale | The size of an object or artwork relative to another object or artwork, or to a system of measurement. (page 62) |
| shape | The two-dimensional area the boundaries of which are defined by lines or suggested by changes in color or value. (page 62) |
| space | The distance between identifiable points or planes. (page 62) |
| stela | Upright stone slab decorated with inscriptions or pictorial relief carvings. (page 67) |
| Surrealist | An artist belonging to the Surrealist movement in the 1920s and later, whose art was inspired by dreams and the subconscious. (page 73) |
| texture | The surface quality of a work, for example fine/coarse, detailed/lacking in detail. (page 62) |
| three-dimensional | Having height, width, and depth. (page 62) |
| two-dimensional | Having height and width. (page 62) |
| volume | The space filled or enclosed by a three-dimensional figure or object. (page 62) |
| actual line | A continuous, uninterrupted line. (page 86) |
| cross-hatching | The use of overlapping parallel lines to convey darkness or lightness. (page 80) |
| emphasis | The principle of drawing attention to particular content in a work. (page 79) |
| foreshortening | A perspective technique that depicts a form at a very oblique (often dramatic) angle to the viewer in order to show depth in space. (page 91) |
| fresco | A technique where the artist paints onto freshly applied plaster. From the Italian fresco, fresh. (page 88) |
| hatching | The use of non-overlapping parallel lines to convey darkness or lightness. (page 80) |
| highlight | An area of lightest value in a work. (page 78) |
| implied line | A line not actually drawn but suggested by elements in the work. (page 86) |
| intensity | The relative clarity of color in its purest raw form, demonstrated through luminous or muted variations. (page 83) |
| isometric perspective | A system using diagonal parallel lines to communicate depth. (page 84) |
| linear perspective | A system using converging imaginary sight lines to create the illusion of depth. (page 84) |
| medium (plural media) | The material on or from which an artist chooses to make a work of art, for example canvas and oil paint, marble, engraving, video, or architecture. (page 80) |
| one-point perspective | A perspective system with a single vanishing point on the horizon. (page 87) |
| orthogonals | In perspective systems, imaginary sightlines extending from forms to the vanishing point. (page 87) |
| perspective | The creation of the illusion of depth in a two-dimensional image by using mathematical principles. (page 76) |
| picture plane | The surface of a painting or drawing. (page 82) |
| plane | A flat surface. (page 77) |
| rhythm | The regular or ordered repetition of elements in the work. (page 82) |
| space | The distance between identifiable points or planes. (page 76) |
| style | a characteristic way in which an artist uses visual language to give a work an identifiable form of visual expression. (page 77) |
| three-point perspective | A perspective system with two vanishing points on the horizon and one not on the horizon. (page 90) |
| value | The lightness or darkness of a plane or area. (page 76) |
| vanishing point | The point in a work of art at which imaginary sight lines appear to converge, suggesting depth. (page 87) |
| woodcut | A print created from an incised piece of wood. (page 91) |
| analogous colors | Colors adjacent to each other on the color wheel. (page 96) |
| collage | A work of art assembled by gluing materials, often paper, onto a surface. From the French coller, to glue. (page 94) |
| color | The optical effect caused when reflected white light of the spectrum is divided into a separate wavelength. (page 92) |
| complementary colors | Colors opposite one another on the color wheel. (page 96) |
| Cubism | A twentieth-century art movement that favored a new perspective emphasizing geometric forms. (page 94) |
| Fauves | A group of early twentieth-century French artists whose paintings used vivid colors. From the French fauve, wild beast. (page 96) |
| ground | The surface or background onto which an artist paints or draws. (page 100) |
| hue | General classification of a color; the distinctive characteristics of a color as seen in the visible spectrum, such as green or red. (page 92) |
| Impressionism | A late nineteenth-century painting style conveying the impression of the effects of light. (page 99) |
| medium (plural media) | The material on or from which an artist chooses to make a work of art, for example canvas and oil paint, marble, engraving, video, or architecture. (page 102) |
| monochromatic | Having one or more values of one color. (page 94) |
| neutral | colors (such as blacks, whites, grays, and dull gray-browns) made by mixing complementary hues. (page 94) |
| palette | The range of colors used by an artist. (page 94) |
| pigment | The colored material used in paints. Often made from finely ground minerals. (page 92) |
| plane | A flat surface. (page 95) |
| pointillism | A late nineteenth-century painting style using short strokes or points of differing colors that optically combine to form new perceived colors. (page 100) |
| primary colors | Three basic colors from which all others are derived. (page 92) |
| saturation | The degree of purity of a color. (page 95) |
| secondary colors | Colors mixed from two primary colors. (page 92) |
| shade | A color darker in value than its purest state. (page 94) |
| style | A characteristic way in which an artist or group of artists uses visual language to give a work an identifiable form of visual expression. (page 95) |
| temperature | A description of color based on our associations with warmth or coolness. (page 99) |
| tint | A color lighter in value than its purest state. (page 92) |
| value | The lightness or darkness of a plane or area. (page 92) |
| form | An object that can be defined in three dimensions (height, width, and depth). (page 113) |
| Futurism | An artistic and social movement, originating in Italy in 1909, passionately in favor of everything modern. (page 109) |
| installation | An artwork created by the assembling and arrangement of objects in a specific location. (page 111) |
| kinetic art | A work that contains moving parts. (page 112) |
| kinetic sculpture | Three-dimensional art that moves, impelled by air currents, motors, or people. (page 113) |
| mime | A silent performance work; actors use only body movements and facial expressions. (page 113) |
| mobile | Suspended moving sculptures, usually impelled by natural air currents. (page 113) |
| motion | The effect of changing placement in time. (page 106) |
| op art | A style of art that exploits the physiology of seeing in order to create illusory optical effects. (page 111) |
| performance art | A work involving the human body, usually including the artist, in front of an audience. (page 112) |
| positive-negative | The relationship between contrasting opposites. (page 111) |
| space | The distance between identifiable points or planes. (page 112) |
| style | A characteristic way in which an artist or group of artists uses visual language to give a work an identifiable form of visual expression. (page 111) |
| axis | An imaginary line showing the center of a shape, volume, or composition. (page 126) |
| background | The part of a work depicted furthest from the viewer’s space, often behind the main subject matter. (page 119) |
| Cubism | A twentieth-century art movement that favored a new perspective emphasizing geometric forms. (page 118) |
| facade | Any side of a building, usually the front or entrance. (page 126) |
| foreground | The part of a work depicted as nearest to the viewer. (page 119) |
| found object | An object found by an artist and presented, with little or no alteration, as part of a work or as a finished work of art in itself. (page 121) |
| gestalt | Complete order and indivisible unity of all aspects of an artwork’s design. (page 116) |
| grid | A network of horizontal and vertical lines; in an artwork’s composition, the lines are implied. (page 116) |
| mandala | A sacred diagram of the universe, often involving a square and a circle. (page 126) |
| motif | A design or color repeated as a unit in a pattern. (page 125) |
| principles | The "grammar" applied to the elements of art—contrast, balance, unity, variety, rhythm, emphasis, pattern, scale, proportion, and focal point. (page 116) |
| still life | A scene of inanimate objects, such as fruits, flowers, or motionless animals. (page 119) |
| unity | The imposition of order and harmony on a design. (page 116) |
| variety | The diversity of different ideas, media, and elements in a work. (page 116) |
| cast | A sculpture or artwork made by pouring a liquid (for example molten metal or plaster) into a mold. (page 132) |
| Classical period | A period in the history of Greek art, c. 480–323 bce. (page 132) |
| format | The shape of the area an artist uses for making a two-dimensional artwork. (page 132) |
| Golden Section | A unique ratio of a line divided into two parts so that a + b is to a as a is to b. The result is 1:1.618. (page 134) |
| Gothic | Western European architectural style of the twelfth to sixteenth centuries, characterized by the use of pointed arches and ornate decoration. (page 130) |
| monumental | Having massive or impressive scale. (page 128) |
| proportion | The relationship in size between a work’s individual parts and the whole. (page 128) |
| relief | A raised form on a largely flat background. For example, the design on a coin is "in relief". (page 130) |
| unity | The imposition of order and harmony on a design. (page 128) |
| scale | The size of an object or artwork relative to another object or artwork, or to a system of measurement. (page 128) |
| color field | A term used by a group of twentieth-century abstract painters to describe their work with large flat areas of color and simple shapes. (page 136) |
| emphasis | The principle of drawing attention to particular content in a work. (page 136) |
| focal point | The center of interest or activity in a work of art, often drawing the viewer’s attention to the most important element. (page 136) |
| implied texture | A visual illusion expressing texture. (page 136) |
| negative space | An empty space given shape by its surround, for example the right-pointing arrow between the E and x in FedEx. (page 136) |
| outline | The outermost line of an object or figure, by which it is defined or bounded. (page 141) |
| positive shape | A shape defined by its surrounding empty space. (page 136) |
| rhythm | The regular or ordered repetition of elements in the work. (page 140) |
| subordination | The opposite of emphasis; it draws our attention away from particular areas of a work. (page 136) |
| automatic | Suppressing conscious control to access subconscious sources of creativity and truth. (page 146) |
| background | The part of a work depicted furthest from the viewer’s space, often behind the main subject matter. (page 147) |
| contrast | A drastic difference between such elements as color or value (lightness/darkness). (page 142) |
| Dada | Anarchic anti-art and anti-war movement, dating back to World War I, that reveled in absurdity and irrationality. (page 146) |
| foreground | The part of a work depicted as nearest to the viewer. (page 146) |
| middle ground | The part of a work between the foreground and background. (page 146) |
| pattern | An arrangement of predictably repeated elements. (page 142) |
| picture plane | The surface of a painting or drawing. (page 146) |
| abstraction | The degree to which an image is altered from an easily recognizable subject. (page 153) |
| balance | A principle of art in which elements are used to create a symmetrical or asymmetrical sense of visual weight in an artwork. (page 161) |
| depth | The degree of recession in perspective. (page 160) |
| form | An object that can be defined in three dimensions (height, width, and depth). (page 154) |
| linear perspective | A system using converging imaginary sight lines to create the illusion of depth. (page 160) |
| neutral tones | Colors (such as blacks, whites, grays, and dull gray-browns) made by mixing complementary hues. (page 160) |
| non-objective | Art that does not depict a recognizable subject. (page 153) |
| palette | The range of colors used by an artist. (page 160) |
| representational | Art that depicts figures and objects so that we recognize what is represented. (page 153) |
| style | A characteristic way in which an artist or group of artists uses visual language to give a work an identifiable form of visual expression. (page 162) |
| vanishing point | The point in a work of art at which imaginary sight lines appear to converge, suggesting depth. (page 160) |
| vanitas | An artwork in which the objects remind the viewer of the transience of life. (page 156) |
| volume | The space filled or enclosed by a three-dimensional figure or object. (page 160) |
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