Busy. Please wait.
or

show password
Forgot Password?

Don't have an account?  Sign up 
or

Username is available taken
show password

why

Make sure to remember your password. If you forget it there is no way for StudyStack to send you a reset link. You would need to create a new account.

By signing up, I agree to StudyStack's Terms of Service and Privacy Policy.


Already a StudyStack user? Log In

Reset Password
Enter the associated with your account, and we'll email you a link to reset your password.

Remove ads
Don't know
Know
remaining cards
Save
0:01
To flip the current card, click it or press the Spacebar key.  To move the current card to one of the three colored boxes, click on the box.  You may also press the UP ARROW key to move the card to the "Know" box, the DOWN ARROW key to move the card to the "Don't know" box, or the RIGHT ARROW key to move the card to the Remaining box.  You may also click on the card displayed in any of the three boxes to bring that card back to the center.

Pass complete!

"Know" box contains:
Time elapsed:
Retries:
restart all cards




share
Embed Code - If you would like this activity on your web page, copy the script below and paste it into your web page.

  Normal Size     Small Size show me how

Art test 1

Art appreciation, chap 1, 2, 3,

QuestionAnswer
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.
Created by: Doomtrooper