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Fine Arts Final
| Question | Answer |
|---|---|
| rules or generally recognized principles for how an art form is made and understood; generally accepted practice, technique or device | convention |
| a general category characterized by a particular style, form or content | genre |
| the arrangement of line, form, mass, texture and color; also the arrangement of the technical qualities of any art form | composition |
| Used by artists to control our vision, to create unity and emotional value. It can be actual or implied, curved or straight | line |
| Closely related to line, both in definition and effect. Form is the shape of the object(s) within the composition. Form is the space described by line (has dimension) | form |
| The appearance of surfaces in terms of hue (the color itself) value (the range of tonalities from white to black) and intensity (the degree of purity of hue) | color |
| With 3-dimensional form the physical bulk. With 2-dimensional objects, it is the illusion of weight | mass |
| Apparent roughness/smoothness of the surface of a work of art | texture |
| Reiteration of the basic elements within a work of art | repetition |
| the relationship, either of time or space between recurring elements within a design or composition | rhythm |
| the logic of the repetition or combination | harmony |
| a feeling of a comfortable relationship between elements | consonance |
| Any harsh disagreement between elements of composition | dissonance |
| The method of altering the basic elements of composition | variation |
| The placement of physically or psychologically equal items on either side of a central axis; the compositional equilibrium of opposing forces | balance |
| The balancing of elements in design by placing physically equal objects on both sides of the central axis. Absolute symmetry is very rare, but we often in arranging space approach the idea of symmetry | symmetry |
| The balancing of elements in design by placing dissimilar objects or forms on both sides of the central axis, but with a sense of an equality of weight. Often called “psychological balance | asymmetrical |
| The combination of all the elements in such as way as to suggest a completeness or undivided total effect | unity |
| To show or bring out noticeable differences when elements are compared or placed side by side | contrast/juxtaposition |
| It can be suggested or actual. In two-dimensional art, movement is suggested to give the illusion of action. In three-dimensional art, actual movement occurs in threedimensional objects and forms moving through space to create meaning | movement |
| It can be suggested or actual. In two-dimensional art, light is suggested to give shapes an illusion of dimensionality. In three-dimensional art, actual light reveals three-dimensionality and creates meaning | light |
| styles of construction and ornamentation first used in Greek buildings; adopted by the Romans; most easily identified by the capitals; commonly used today as historical references | Greek orders |
| a decorative structure at the top of a column; this design is the easiest way to identify the Greek orders | capital |
| the simplest of the Greek orders; the capital includes a round pillow-like stone topped by a flat, rectangular stone | Doric |
| a Greek order; the capital consists of large scrolls | Ionic |
| the most complex Greek order; the capital includes stylized leaves and scrolls | Corinthian |
| a structural system with a post spanned by a single piece (e.g. stone columns spanned by a single piece of stone); in wood this is called post and beam | post-and-lintel |
| a free-standing vertical structural support | column |
| the vertical grooves carved into columns | fluting |
| a curved structure that spans an opening | arch |
| an arch in the shape of a half circle; widely used by the Romans and again in the middle ages (identified then as Romanesque) | Roman arch |
| a pointed arch. Developed in the middle ages | Gothic arch |
| a series of arches side by side | arcade |
| a series of arches, one behind the next, that enclose a space, producing an arched ceiling | vault |
| the simplest of vaults, a continuous arched ceiling, with either round or pointed arches | tunnel vault |
| occurs where two tunnel vaults of the same size intersect at a right angle | groin vault |
| a structure that encloses space by using a series of continuous arches on a continuous round base | dome |
| a structural method in which the building is held up by the outside walls, which must be thick and strong | bearing-wall construction |
| a modern structural method that holds up a building with an internal frame of steel; the walls do not hold up the building as in earlier structural systems | steel cage construction |
| an overhanging structure supported only on one side | cantilever |
| the front of a building, often given special architectural design | facade |
| the pattern of windows in a building | fenestration |
| building size as compared to the human body | scale |
| comparative size of parts of a building measured against other parts of the building | proportion |
| stone, brick, masonry (brick or stone held together by mortar, a substance similar to concrete), concrete, wood, steel, glass | materials |
| A highly collaborative art form that is an aesthetic expression through the manipulation of 3 dimensional space, time, light, movement, and sound that is recorded on a 2 dimensional photographic celluloid medium | film |
| Films that tell stories – with characters, places and events – conceived in the minds of the films creators. The stories may be wholly imaginary or based on true occurrences, realistic or unrealistic or both | narrative film |
| nonfiction film, "actuality" footage that usually shows a certain point of view | documentary film |
| created for artistic experience, Film that exists for its own sake, for its record of movement or form. (short) | absolute film |
| The categorization of narrative films by form, content or both. Genres include musical, comedy, biography, western, film noir, etc. | film genres |
| The smallest building block in the creation of a film. It is a recorded image, a photograph, that is roughly four fifths on an inch wide by three fifths of an inch high. It is run through a projector at 24 frames per second | frame |
| (how eye percieves it) This phenomenon, in conjunction with the stop and go shutter mechanism on a film projector, allows the retained images to blend into each other and give the viewer the impression of movement. | persistence of vision |
| What the camera records over a particular period of time, and is the basic unit of filmmaking | shot |
| A long shot introduced at the top of a scene to establish the interrelationship of details, a time, or a place which will be elaborated on in subsequent shots | establishing shot |
| A single shot of the entire action of a scene. It becomes the foundation to which additional component shots are edited into in the creation of the final composition of a scene | master shot |
| A shot taken from a considerable distance from the camera. Generally, the main characters or objects fill up less than half the screen | long shot |
| A shot that is taken closer to the subject and much of the time contains two characters. Generally, the main characters or objects fill up about half the screen | medium shot |
| A shot that focuses on the face of a character and informs the viewer of their current emotional state. Generally, the main characters or objects fill up more than half the screen | close up shot |
| The position and angle of the camera while shooting | camera viewpoint |
| This is where the camera’s viewpoint creates the illusion of being inside of the action of the story, as if seen through the eyes of one of the films characters | subjective viewpoint |
| This is where the camera’s viewpoint is from outside the action of the story, giving the viewer an omniscient frame of understanding | objective viewpoint |
| Transitional devices used between shots | dissolves |
| A transition that allows for a second of darkness between shots | fade in/fade out |
| A transition where a Fade in and Fade out happen simultaneously | lap dissolve |
| A transition that closes the shot down to a circular point or opens out from a circular point | iris in/iris out |
| A device that uses a line to shift from one shot into another. It also can allow two scenes to happen at the same time | wipe |
| Composition of the individual frame – the overall style and arrangement of the visual whole that includes the settings, costumes, the relationship of objects, people and masses; the interplay of light and shadow and the pattern of color | mise en scene: (MEEZ on sen) |
| The manner in which the lens is adjusted can add meaning to a scene | focus |
| This is when the lens clearly shows both near and distant objects at the same time | depth of focus |
| This occurs when the lens focuses on the main object of interest clearly and the remainder of the scene is blurred or out of focus | rack or differential focus |
| There are 3 types of movement that can be manipulated for a variety of meanings in a scene: primary, secondary and tertiary | movement (cinema) |
| Movement of objects, people and masses within the frame of the camera | primary movement |
| Movement of the camera while shooting | secondary movement |
| Horizontal movement of the camera while keeping it fixed vertically | pan |
| Vertical or diagonal movement of the camera | tilt |
| Physically moving the camera towards or away from the subject on a wheeled cart | dolly shot |
| a shot taken as the camera is moving in the same direction, speed and in the same place as the object being photographed | track shot |
| The term means “camera truth” in French. It is when the camera is carried by the camera operator and used to give the illusion of immediacy, being right within the action | cinemavVerite/hand held |
| Movement created by the splicing together (editing) of shots or frames that give a feeling of movement. A cartoon is an example of this movement | tertiary movement |
| The quality of the medium of film to be cut, spliced and ordered accordingly to the needs of the film and the desires of the filmmaker | plasticity |
| The composition of a film through the means of splicing together various shots and sound tracks in an order that creates meaning | editing |
| A cut that breaks the continuity of time by jumping forward from one part of the action to another part that obviously is separated from the first by an interval of time, location or camera position | jump cut |
| A cut from an image in a shot to a different object that has a similar shape or contour; it is used primarily to make a smoother transition from one shot to another | form or match cut |
| A rapid sequence of shots that bring together associated ideas or images; maybe used to as an indication of the compression or elongation of time | montage |
| Alternating between two independent lines of action that are related by plot or thematically, through editing to give the impression of simultaneous occurrence. | crosscut/parallel editing |
| An editing device for presenting or reawakening the memory of the camera, a character, the audience or all three; a cut from the narrative present to a past event | flashback |
| An editing device for presenting the anticipation of the camera, a character, the audience or all three; a cut from the narrative present to a future time | flash forward |
| All aural effects to create meaning and affect emotional impact of the visual elements of film | film sound |
| Music that comes from outside of the action of the film and underscores the emotional impact of a scene | extrinsic music |
| Music that comes from within a scene. It can either be qualified, where the viewer sees a source, or implied based on the circumstances of the plot | intrinsic music |
| Music specifically composed for the film | pure dramatic music |
| Music adapted and rerecorded from already existing written music | adapted music |
| Sounds that are added to the film after shooting to fill out the natural sounds recorded during a scene, such as gunshots, natural environmental sounds and footsteps. Named for Jack Foley (1891-1967), who developed the technique | foley sounds |
| author of film, Their job is to unify the overall compositional elements of filmmaking into a finished form or final cut | director |
| This person is responsible for the cinematographic properties of the shot (film, light and lenses), framing the shot in an aesthetic manner, speed and length of shot and special effects. They unify the mise en scene of a film | cinematographer/director of photography |
| This person is responsible for all visual environments and objects within an environment of a film shot; whether the settings are found or created on a sound stage | production designer |
| This person is responsible for all clothing worn by the actors in a film | costume designer |
| This person works with the director to create meaning and structure through the editing of a film | editor |
| the person who creates the script | screen writer |
| the person who creates the script | composer |
| The pulse of music | beat |
| the speed of the beat | tempo |
| The simultaneous sounding of musical pitches. When different notes sound together, they create a chord | harmony |
| A succession of pitches in time, a logical sequence that has a beginning, middle, and end | melody |
| very short melody that has both distinctive pitch and rhythm. Used as the building block for longer melodies | motive |
| A regular succession or pattern of beats, most often in groups of two, three, or four | meter |
| The specific, organized movement of music in time. While meters are generic and are used in many compositions (e.g. waltzes are in triple meter), the rhythm is the specific pattern of pitches in time that is unique to each piece | rhythm |
| The use of a strong beat or accent when a weak beat is expected. This disturbs the normal pattern of a meter | syncopation |
| Levels of volume and changes of volume: loud, soft, increasing (crescendo), decreasing (decrescendo) | dynamics |
| (TAM ber) The distinctive tone quality that distinguishes one instrument or voice from another. It also is called tone color | timbre |
| A composition for soloist(s) and orchestra or instrumental ensemble. “Concerto” literally means “contest.” It most often has three movements: fast / slow / fast | concerto |
| 1. An instrumental composition used as an introduction to a larger work, e.g., a ballet or an opera. 2. A concert overture is a single-movement instrumental composition intended as a stand-alone piece. | overture |
| 1. piece for one or two players, usually in three or four movements 2. Sonata form is a musical structure often used as the first movement of a sonata, symphony, or concerto | sonata |
| An extended composition for orchestra or large instrumental ensemble, usually consisting of three or four movements | symphony |
| 1. A composition in a series of short movements, usually dances. 2. A composition created using musical themes from a longer work, such as an opera, ballet, or stage work | suite |
| In opera or oratorio, a solo vocal piece with instrumental accompaniment. Usually a reflective text that does not move the plot forward | aria |
| A vocal composition for solo voice(s), usually accompanied by piano. The text often is a setting of a poem. Art songs usually are performed in recital situations. | art song |
| The monophonic music used in the liturgy of the Roman Catholic church. It is sung in unison, usually unaccompanied. Chant also is known as plainchant, plainsong, and Gregorian chant. | chant |
| The liturgy of the Roman Catholic Eucharist. In music, a mass most often is a setting of the texts for the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. The term mass used for a musical composition is not capitalized. | mass |
| A theatrical genre in which the entire text (libretto) is set to music | opera |
| A work, often on a religious theme, for soloists, choir, and orchestra. While most oratorios tell stories, they are not meant to be staged. | oratorio |
| A vocal line that imitates the rhythms and pitches of speech. A sung conversation or monologue that moves the story forward. A recitative often serves as an introduction to an aria. | recitative |
| French horn, trumpet, trombone, and tuba | brass |
| Any instrument that is sounded by striking. Pitched percussion includes, e.g., tympani and mallet instruments. Unpitched percussion includes, e.g., cymbals, triangle, snare drum, and bass drum. The piano also is considered a percussion instrument. | percussion |
| Violin, viola, cello, and bass. The guitar and harp also are string instruments | strings |
| Most commonly the flute, oboe, clarinet, bassoon, and saxophone | woodwinds |
| The female voice with the highest range | soprano |
| The female voice with the lowest range | alto |
| The male voice with the highest range | tenor |
| The male voice with the lowest range | bass |
| One melody of primary interest with background accompaniment. | homophony |
| A single, unaccompanied melodic line | monophony |
| Two or more independent melodic lines of equal interest sounding together. | polyphony |
| Series of closely related events | plot |
| live actor in same space as audience | live actor |
| formal theatre space or informal such as garage, basement, street corner | theatrical space |
| actors and audience react to each other | theatrical event |
| audience is able to fully immerse themselves in the story taking place on stage; accepting improbability within the framework of the work of art | suspension of disbelief |
| series of closely related events; story structure | plot |
| people of the play, vehicle thru which the story is told | character |
| theme, message, moral, central idea playwright is trying to get across | thought |
| language of the play: imagery, tone, and articulation | diction |
| all sound; rhythm of sounds and vocal tones, music | music |
| all visual aspects of the production | spectacle |
| a stage framed by a large rectangular arch that divides playing space from audience (house) | proscenium |
| stage that thrusts into audience area and is surrounded on three sides by seats. | thrust |
| stage is surrounded on all sides by seats | arena |
| flexible space that can be configured for requirements of the production | black box |
| Oldest form of recorded drama; serious play with protagonist of high social stature who has a tragic flaw | tragedy |
| a play with a serious intent, but not the universal significance of tragedy; usually people of everyday type, but ending is often unhappy or at least serious | drama |
| a funny play often about serious human conflict | comedy |
| stereotypical and sentimental drama | melodrama |
| play written purely for entertainment | farce |
| play combining dialogue, music, and often, dance | musical |
| how a play is organized | dramatic structure |
| background information; introduces the characters, situation and problem | exposition |
| drama requires conflict; mechanism by which a situation becomes dramatic; this begins with an inciting incident. | conflict or complication |
| the moment of maximum tension in the play when the primary conflict is resolved | climax |
| resolution of the conflict; new harmony or understanding has been reached | denouement: (DAY noo mah) |
| things happen on stage faster than they do in life and audience accepts this | dramatic time |
| principal character in a dramatic action | protagonist |
| the character who opposes the action | antagonist |
| vision of the entire production formulated and shared by the director | concept or production approach |
| the author of the script | playwright |
| plays that present life in a realistic manner; characters talk to each other without regard for the audience | representational |
| characters deliver the material out to the audience in a less than realistic manner | presentational |
| style of theatre in which design and approach to the play is heightened and not necessarily a historical representation; style is removed from observable reality | theatricality |
| To behave truthfully under an imaginary set of circumstances | acting |
| Major movement on stage, usually predetermined and set by the director | blocking |
| Small actions performed by each character, necessary for specifically defining each character and for creating reality on stage | stage business |
| A speech wherein a character verbalizes his/her thoughts aloud while alone | soliloquy |
| presentational in intent, meaning that the character(s) acknowledge the presence of the audience by speaking directly to them | direct performance |
| A speech wherein a character expresses his/her thoughts in words audible to the audience but supposedly unheard by the other characters on stage | aside |
| The imaginary wall between the actors and the audience | fourth wall |
| the building in which theatre takes place | theater |
| the production of drama | theatre |
| the literature of theatre; scripts | drama |
| a round dancing place before the stage. The chorus performed there | orchestra |
| a winged building behind the stage and in front of the actors. It may have had a painted backdrop. It is the origin of our word scene. | skene |
| a winged building behind the stage and in front of the actors. It may have had a painted backdrop. It is the origin of our word scene. | buskin |
| one of the songs which the chorus performed between episodes. | ode |
| dialogue consisting of alternating single lines spoken by two characters. It was used in Greek tragedy to show tenses disputes. Modern writers like Shakespeare use versions of it. (banter) | stychomythia |
| irony that results when characters say or do something of greater significance than they realize. The audience’s knowledge is superior to that of the character(s).. | dramatic irony |
| lifting actors | deus ex machina |
| a choral ode honoring the god Dionysus. A chorus of singers dressed as satyrs performed episodes from myths. The dithyramb evolved into tragedy | dithyramb |
| a choral ode honoring the god Dionysus. A chorus of singers dressed as satyrs performed episodes from myths. The dithyramb evolved into tragedy | tetralogy and trilogy |
| a parody of a myth. The final part of the tetralogy in Athenian dramatic competitions | satyr |
| according to Aristotle, an error of judgment that causes the downfall of a tragic protagonist. | hamartia |
| the resolution of the plot of a tragedy, depicting the final downfall of the protagonist. | catastrophe |
| according to Aristotle, the purging of pity and fear that tragedy causes in viewers | catharsis |
| toward the audience. So called because stages used to be slightly sloped | downstage |
| away from the audience | upstage |
| necessary or convenient features of literature which audiences unquestioningly accept. An example from drama is the “fourth wall” | convention |
| The way in which an artist organizes forms, line, mass, and color in an art work (art) | composition |
| A long thin mark, a color edge, or an implication of continuation of a thin mark or color edge | line |
| Art that maintains the appearance of observable reality | representational art |
| Art in which there can be found no clear reference to observable reality. Non-objective art is abstract but not all abstract art is non-objective | non-objective art |
| Art that 1) emphasizes only stylized representation of visible reality or 2) is totally non-objective. This differs from non-objective art in that it can contain symbolic or stylized references to objects found in the natural world | abstract art |
| A way of analyzing the picture or sculpture, a continuum from observable reality, to an altered-but-still-visible reality, to elimination of any recognizable object. | representation/distortion/abstraction |
| The art of ancient Greece and Rome | classical art |
| A sense of equilibrium among all parts of an art work. Balance can be symmetrical or asymmetrical. | balance |
| A sense of movement or energy in an art work. | dynamics |
| A composition that allows the eye to escape the frame. In sculpture this is also a reference to sculptures that contain negative space (openings) | open form |
| A composition where the eye is continually drawn back inside the frame or back to the sculpture. Also refers to sculptures with little negative space | closed form |
| The manner in which various components of the artwork are joined together | articulation |
| A paint used since ancient times that mixes color pigments in an egg yoke or gum binder. This is the paint traditionally used in frescoes and works on paper. | tempera |
| A painting medium invented at the beginning of the 1400’s in which the pigments are suspended in oil, often a linseed oil. | oil |
| A transparent type of paint made from pigment in a water-soluble binder. | watercolors |
| A synthetic paint invented in the 20th century that is water-soluble but that also dries very quickly and dries nearly as hard as rubber or plastic | acrylic |
| A painting done directly on the plaster of a wall. The most stable frescoes are done directly onto wet plaster, allowing the paint to dry into the wall. | fresco |
| A technique for creating depth in two-dimensional art by making parts of a single form that is “closer” to the viewer larger than the parts of a form that are further away. | foreshortening |
| The use of gradations of light and dark to produce the effect of modeling (three-dimensionality) in drawn or painted forms | chiaroscuro |
| Sculptures that can be viewed from any side and stand independent of any wall | full round |
| Sculptures that emerge from a larger background but are still attached to it, intended to be viewed from one side only | relief sculpture |
| Sculptures that emerge far from the background | high relief sculpture |
| Sculptures that barely emerge from the background, such as on coins. | low relief sculptures |
| Sculptures made by carving away material to create the form | subtraction |
| Sculptures that are built. The elements are put together or assembled to create the sculpture, for example, pieces of steel welded together | adition or construction |
| Sculptures that are cast with molten material being poured into a mold and then hardening to create the final form | substitution |
| Sculptures constructed from long thin materials such as wire or neon tubes. | linear (sculpture) |
| The shaping of material, such as clay, by hand to create the form. | manipulation |
| Sculptures meant to last only for a short time | ephemeral |
| A chemical treatment applied purposely to a sculpture to create a color or texture, or to protect the art from the elements (bronze) | patina |
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jenks14
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