Question 1

( 1) The literal shape and mass of an object or figure. ( 2) More generally, the materials used to make a work of art, the ways in which these materials are used in terms of the for-mal elements ( line, light, color, etc.), and the composition that result

Accepted Answer

Form

Question 2

The meaning of an image, beyond its overt subject matter; as opposed to form.

Accepted Answer

Content

Question 3

An area of closely spaced parallel lines, employed in drawing and engraving, to create the effect of shading or modeling.

Accepted Answer

Hatching

Question 4

Two or more sets of roughly parallel and overlap-ping lines, set at an angle to one another, in order to create a sense of three- dimensional, modeled space.

Accepted Answer

Cross-hatching

Question 5

Pairs of colors, such as red and green, that are directly opposite each other on the color wheel.

Accepted Answer

Complementary color

Question 6

Pairs of colors, such as yellow and orange, that are adjacent to each other on the color wheel.

Accepted Answer

Analogous color

Question 7

The hues that in theory cannot be created from a mixture of other hues and from which all other hues are cre-ated— namely, in pigment, red, yellow, and blue, and in refracted light, red- orange, green, and blue- violet.

Accepted Answer

Primary colors

Question 8

Hues created by combining two primary colors; in pigment, the secondary colors are traditionally considered to be orange, green, and violet; in refracted light, yellow, magenta, and cyan.

Accepted Answer

Secondary colors

Question 9

The range of colors on the color wheel between each primary color and its neighboring secondary colors; yellow- green, for example.

Accepted Answer

Intermediate colors

Question 10

Color that has no realistic or natural relation to the object that is depicted, as in a blue horse or a purple cow, but that may have emotional or expressive significance.

Accepted Answer

Arbitrary color

Question 11

A color composition consisting of a variety of hues.

Accepted Answer

Polychromatic

Question 12

As opposed to optical color and perceptual color, the actual hue of a thing, independent of the ways in which colors might be mixed or how different conditions of light and atmos-phere might affect color.

Accepted Answer

Local Color

Question 13

That which impresses the mind with a sense of grandeur and power, inspiring a sense of awe.

Accepted Answer

Sublime

Question 14

A style of art of the early twentieth century that emphasized dream imagery, chance operations, and rapid, thoughtless forms of notation that expressed, it was felt, the unconscious mind.

Accepted Answer

Surrealism

Question 15

The organization of the formal elements in a work of art.

Accepted Answer

Composition

Question 16

A style arising in the early 1960s characterized by empha-sis on the forms and imagery of mass culture.

Accepted Answer

Pop Art

Question 17

An environment that is out- of- doors.

Accepted Answer

Earthworks

Question 18

Art that moves.

Accepted Answer

Kinetic art

Question 19

A work that to a greater or lesser degree does not resemble what the eye sees.

Accepted Answer

Abstraction

Question 20

Any work of art that seeks to resemble the world of natural appearance.

Accepted Answer

Representational Art

Question 21

Art that makes no reference to the natural world and that explores the inherent expressive or aesthetic potential of the formal elements— line, shape, color— and the formal compositional principles of a given medium.

Accepted Answer

Nonrepresentational Art

Question 22

A technique, often employed in land-
scape painting, designed to suggest three-dimensional space in
the two-dimensional space of the picture plane, and in which
forms and objects distant from the viewer become less distinct,
often bluer or cooler in c

Accepted Answer

Atmospheric/Aerial Perspective

Question 23

A version of linear perspective in
which there is only one vanishing point in the composition.

Accepted Answer

Linear Perspective / 1 point

Question 24

A version of linear perspective in
which there are two ( or more)  vanishing points in the
composition

Accepted Answer

Linear Perspective / 2 point

Question 25

The modification of perspective to decrease dis-
tortion resulting from the apparent visual contraction of an
object or figure as it extends backward from the picture plane at
an angle approaching the perpendicular.

Accepted Answer

Foreshortening

Question 26

Term used when the overall effect of a com-
position is one of absolute symmetry, even though there are
clear discrepancies side to side

Accepted Answer

Bilateral symmetry

Question 27

Term used when each half of a composition is
exactly the same

Accepted Answer

Absolute symmetry

Question 28

The comparative size of an object in relation to other
objects and settings.

Accepted Answer

Scale

Question 29

In any composition, the relationship between the
parts to each other and to the whole

Accepted Answer

Proportion

Question 30

An effect achieved when shapes, colors, or a regular
pattern of any kind is repeated over and over again.

Accepted Answer

Rhythm

Question 31

In drawing and painting, the use of light and dark
to create the effect of three-dimensional, modeled surfaces.

Accepted Answer

Chiaroscuro

Question 32

From the Italian tenebroso, meaning murky, a height-
ened form of chiaroscuro.

Accepted Answer

Tenebrism

Question 33

The relative purity of a color’s hue, and a function of
its relative brightness or dullness; also known as saturation.

Accepted Answer

Intensity

Question 34

same as intensity

Accepted Answer

Saturation

Question 35

A color or hue modified by the addition of another color
resulting in a hue of a lighter value, in the way, for instance,
that the addition of white to red results in pink

Accepted Answer

Tint

Question 36

A color or hue modified by the addition of another color,
resulting in a hue of a darker value, in the way, for instance, that
the addition of black to red results in maroon.

Accepted Answer

Shade

Question 37

A color, as found on a color wheel

Accepted Answer

Hue

Question 38

The study or description of images and symbols.

Accepted Answer

Iconography

Question 39

The “rule” of perfect proportions for the
human body as determined by the Greek sculptor Polykleitos
in a now lost work, known as the Canon, and based on the idea
that each part of the body should be a common fraction of the
figure’s total height

Accepted Answer

Canon

Question 40

A system of proportion developed by the ancient
Greeks obtained by dividing a line so that the shorter part is to
the longer part as the longer part is to the whole, resulting in a
ratio that is approximately 5 to

Accepted Answer

Golden Section

Question 41

In linear perspective, the point on the horizon line
where parallel lines appear to converge

Accepted Answer

Vanishing point

Question 42

In a work of art, the center of visual attention, often
different from the physical center of the work.

Accepted Answer

Focal Point

Question 43

An art style particularly popular in
the 1 960s in which line and color are manipulated in ways
that stimulate the eye into believing it perceives movement.

Accepted Answer

Optical Painting/Op art

Question 44

Outline
Contour line
Implied line
Analytic line 
Expressive line

Accepted Answer

Types of line:

Question 45

The edge of a shape or figure depicted by an actual line
drawn or painted on the surface.

Accepted Answer

Outline

Question 46

The perceived line that marks the border of an
object in space

Accepted Answer

Contour line

Question 47

A line created by movement or direction, such as
the line established by a pointing finger, the direction of a
glance, or a body moving through space.

Accepted Answer

Implied line

Question	Answer
( 1) The literal shape and mass of an object or figure. ( 2) More generally, the materials used to make a work of art, the ways in which these materials are used in terms of the for-mal elements ( line, light, color, etc.), and the composition that result	Form
	Formal Elements
The meaning of an image, beyond its overt subject matter; as opposed to form.	Content
	Picture Plane
An area of closely spaced parallel lines, employed in drawing and engraving, to create the effect of shading or modeling.	Hatching
Two or more sets of roughly parallel and overlap-ping lines, set at an angle to one another, in order to create a sense of three- dimensional, modeled space.	Cross-hatching
Pairs of colors, such as red and green, that are directly opposite each other on the color wheel.	Complementary color
Pairs of colors, such as yellow and orange, that are adjacent to each other on the color wheel.	Analogous color
The hues that in theory cannot be created from a mixture of other hues and from which all other hues are cre-ated— namely, in pigment, red, yellow, and blue, and in refracted light, red- orange, green, and blue- violet.	Primary colors
Hues created by combining two primary colors; in pigment, the secondary colors are traditionally considered to be orange, green, and violet; in refracted light, yellow, magenta, and cyan.	Secondary colors
The range of colors on the color wheel between each primary color and its neighboring secondary colors; yellow- green, for example.	Intermediate colors
Color that has no realistic or natural relation to the object that is depicted, as in a blue horse or a purple cow, but that may have emotional or expressive significance.	Arbitrary color
	Monochromatic
A color composition consisting of a variety of hues.	Polychromatic
As opposed to optical color and perceptual color, the actual hue of a thing, independent of the ways in which colors might be mixed or how different conditions of light and atmos-phere might affect color.	Local Color
That which impresses the mind with a sense of grandeur and power, inspiring a sense of awe.	Sublime
A style of art of the early twentieth century that emphasized dream imagery, chance operations, and rapid, thoughtless forms of notation that expressed, it was felt, the unconscious mind.	Surrealism
The organization of the formal elements in a work of art.	Composition
A style arising in the early 1960s characterized by empha-sis on the forms and imagery of mass culture.	Pop Art
	Calligraphy
An environment that is out- of- doors.	Earthworks
Art that moves.	Kinetic art
	Mobiles
A work that to a greater or lesser degree does not resemble what the eye sees.	Abstraction
Any work of art that seeks to resemble the world of natural appearance.	Representational Art
Art that makes no reference to the natural world and that explores the inherent expressive or aesthetic potential of the formal elements— line, shape, color— and the formal compositional principles of a given medium.	Nonrepresentational Art
	Color Temperature
	Warm colors
	Cool colors
	Pointillism
	optical color mixing
A technique, often employed in land- scape painting, designed to suggest three-dimensional space in the two-dimensional space of the picture plane, and in which forms and objects distant from the viewer become less distinct, often bluer or cooler in c	Atmospheric/Aerial Perspective
A version of linear perspective in which there is only one vanishing point in the composition.	Linear Perspective / 1 point
A version of linear perspective in which there are two ( or more) vanishing points in the composition	Linear Perspective / 2 point
The modification of perspective to decrease dis- tortion resulting from the apparent visual contraction of an object or figure as it extends backward from the picture plane at an angle approaching the perpendicular.	Foreshortening
Term used when the overall effect of a com- position is one of absolute symmetry, even though there are clear discrepancies side to side	Bilateral symmetry
Term used when each half of a composition is exactly the same	Absolute symmetry
	Asymmetry
The comparative size of an object in relation to other objects and settings.	Scale
In any composition, the relationship between the parts to each other and to the whole	Proportion
	Genre
	Four major roles of the artist
An effect achieved when shapes, colors, or a regular pattern of any kind is repeated over and over again.	Rhythm
In drawing and painting, the use of light and dark to create the effect of three-dimensional, modeled surfaces.	Chiaroscuro
From the Italian tenebroso, meaning murky, a height- ened form of chiaroscuro.	Tenebrism
The relative purity of a color’s hue, and a function of its relative brightness or dullness; also known as saturation.	Intensity
same as intensity	Saturation
	Value /gray scale
A color or hue modified by the addition of another color resulting in a hue of a lighter value, in the way, for instance, that the addition of white to red results in pink	Tint
A color or hue modified by the addition of another color, resulting in a hue of a darker value, in the way, for instance, that the addition of black to red results in maroon.	Shade
A color, as found on a color wheel	Hue
The study or description of images and symbols.	Iconography
The “rule” of perfect proportions for the human body as determined by the Greek sculptor Polykleitos in a now lost work, known as the Canon, and based on the idea that each part of the body should be a common fraction of the figure’s total height	Canon
A system of proportion developed by the ancient Greeks obtained by dividing a line so that the shorter part is to the longer part as the longer part is to the whole, resulting in a ratio that is approximately 5 to	Golden Section
In linear perspective, the point on the horizon line where parallel lines appear to converge	Vanishing point
In a work of art, the center of visual attention, often different from the physical center of the work.	Focal Point
An art style particularly popular in the 1 960s in which line and color are manipulated in ways that stimulate the eye into believing it perceives movement.	Optical Painting/Op art
Outline Contour line Implied line Analytic line Expressive line	Types of line:
The edge of a shape or figure depicted by an actual line drawn or painted on the surface.	Outline
The perceived line that marks the border of an object in space	Contour line
A line created by movement or direction, such as the line established by a pointing finger, the direction of a glance, or a body moving through space.	Implied line
	Analytic line
	Expressive line

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Exam 1-ch1 -ch8