Art appreciation, chap 1, 2, 3,
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| 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
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| TWO-DIMENSIONAL ART | WORKS OF ART THAT EXIST IN 2 DIMENSIONS. THAT CONSIST OF A FLAT PLANE AND ARE CHARACTERIZED BY HEIGHT AND WEIGHT.
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| THREE-DIMENSIONAL ART | WORKS OF ART THAT EXIST IN THREE DIMENSIONS; THEY CONSIST OF HEIGHT, WIDTH AND DEPTH
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| REPRESENTATIONAL ART | FIGURATIVE. ART THAT ATTEMPTS TO REPRESENT WHAT IS SEEN IN THE WORLD.
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| DEGREES OF REPRESENTATION: | 1. REALISM
2. IDEALIZATION
3. STYLIZATION
4. ABSTRACTION
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| REALISM | ACCURATE DEPICTION OF THE NATURAL WORLD.
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| IDEALIZATION | TRANSFORMING THE REAL WORLD SO IT APPROXIMATES ONE'S IDEA OF PERFECTION.
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| STYLIZATION | EMPHASIZES DESIGN RATHER THAN EXACT REPRESENTATION WHEN WORKING WITH NATURAL FORMS.
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| ABSTRACTION | EXTRACTING THE ESSENCE OF REAL OBJECTS RATHER THAN FAITHFULLY REPRESENTING THEIR SURFACE APPEARANCE.
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| NON-REPRESENTATIONAL | NO REFERENCE IS MADE TO OBJECTS IN THE REAL WORLD.
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| FINE ARTS | ORIGINALLY INTENDED TO BE VIEWED AESTHETICALLY (FOR BEAUTY)
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| APPLIED ARTS | PRIMARY FUNCTION IS ONE OF USEFULNESS. (SUCH AS BASKETS, VASES, CERAMICS)
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| PRIVATE ART | WORKS OF AN INTIMATE SCALE MADE FOR PRIVATE CONTEMPLATION
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| PATRONS | FUND THE ART WORKS AND BUYS THE ARTWORK
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| PUBLIC ART | ART OFTEN COMMISSIONED BY GOVERNMENTAL OR LARGE ORGANIZATIONS TO BE DISPLAYED FOR ALL IN SOCIETY TO SEE.
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| CONTENT OF A WORK OF ART | ITS MEANING, INCLUDING THE SUBJECT MATTER, EMOTIONS, IDEAS, SYMBOLS, STORIES OF SPIRITUAL CONNOTATION IT SUGGESTS
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| SOCIOPOLITICAL CONTENT | ART THAT SEEKS TO ENGAGE IN THE SOCIAL AND POLITICAL ENVIRONMENT OF ITS TIME. (HAPPENING IN THE WORLD RIGHT NOW)
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| CORPORATE COLLECTIONS | OFTEN SHOW THAT A COMPANY IS BOTH WEALTHY AND WORLDLY AND SOPHISTICATED.
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| GOVERNMENTAL COMMISSIONS | CAN BE USED TO PUT FORWARD A POSITIVE IMAGE OF A GOVERNMENT AND ITS CORRESPONDING SOCIETY
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| SPIRITUAL PURPOSES | CREATED TO SERVE SPIRITUAL FUNCTIONS SUCH AS INSPIRE OR EDUCATE THE POPULACE OR TO EVOKE OR APPEASE DEITIES.
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| 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.
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| NAIVE/OUTSIDER ARTIST | AN ARTIST THAT HAS NOT BEEN FORMALLY TRAINED IN THE ARTS.
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| MODELS FOR JUDGING ART | 1. FORMALIST APPROACH
2. EXPRESSIVIST APPROACH
3. INSTRUMENTALIST APPROACH
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| FORMALIST APPROACH | BASED UPON HOW THE ARTIST MANIPULATES ELEMENTS OF DESIGN, ORGANIZES THEM ACCORDING TO UNIFYING PRINCIPLES AND WIELDS THE MEDIA.
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| 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.
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| INSTRUMENTALIST APPROACH | ANALYZES ART PRIMARILY ON THE BASIS OF HOW IT FULFILLS A RELIGIOUS, POLITICAL OR SOCIAL PURPOSE.
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| VISUAL ELEMENTS | THE "THINGS" THAT ARTISTS USE TO MAKE WORKS OF ART. THEY ARE LIKE THE INDIVIDUAL INGREDIENTS IN A SALAD.
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| 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.
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| EDGES | WHERE TWO AREAS THAT ARE TREATED DIFFERENTLY MEET. THESE AREAS ARE OFTEN PERCEIVED AS LINES.
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| POSITIVE SPACE | FILLED IN AREAS IN THE PICTURE.
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| NEGATIVE SPACE | UNFILLED AREAS IN THE PICTURE.
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| CONTOUR LINES | PRESENT THE EXTERIOR OUTLINE OF AN OBJECT. THEY DEFINE THE OUTLINE.
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| IMPLIED LINE | A LINE THAT IS VISUALLY SUGGESTED BY THE ARRANGEMENT OF FORMS, LIGHTS AND DARKS OR OTHER ELEMENTS IN A WORK OF ART.
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| EYELINES | THE IMPLIED LINES ALONG WHICH A SUBJECT'S EYES APPEAR TO BE LOOKING IN THE WORK OF ART.
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| DESCRIPTIVE LINE | SHOWS THE PHYSICAL NATURE OF AN OBJECT WE ARE SEEING AND HOW IT EXISTS IN SPACE.
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| DECORATIVE LINE | A LINE THAT PROVIDES SURFACE EMBELLISHMENTS OR DETAILS.
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| MASS | THE SOLID CONTENT OF A FORM
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| VOLUME | THE SPACE THAT THE MASS OCCUPIES
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| VISUAL WEIGHT | THE HEAVINESS OF AN AREA
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| DIRECTIONAL LINE | USED TO STEER THE EYE IN A CERTAIN DIRECTION
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| RELIEF SCULPTURE | AN IMAGE DEVELOPED OUTWARD OR INWARD FROM A 2-D GROUND.
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| LOW RELIEF | FIGURES EXISTS ON NEARLY THE SAME PLANE AS THE BACKGROUND.
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| HIGH RELIEF | HALF OF THE FIGURES' NATURAL SPATIAL DEPTH PROJECTS FORWARD FROM THE BACKGROUND.
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| FRONTAL WORK | DESIGNED TO BE SEEN SOLELY FROM THE FRONT
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| THREE DIMENSIONAL ART | IS DESIGNED TO BE SEEN FROM ALL SIDES.
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| WALK THROUGH WORKS | ARE MEANT TO BE EXPERIENCED COMPLETELY BY THE VIEWER.
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| CHARACTERISTICS OF 3-D FORMS: | 1. CLOSED FORMS
2. OPEN FORMS
3. STATIC FORMS
4. DYNAMIC FORMS
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| FORMS CAN PROJECT HOW: | OUTWARD(CONVEX) OR INWARD (CONCAVE)
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| CLOSED FORMS | REFLECT THE RAW MASS FROM WHICH THEY ARE CARVED.
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| OPEN FORMS | ALLOW MORE COMPLETE 3-DIMENSIONALITY.
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| STATIC FORMS | APPEAR TO BE STILL, UNCHANGING.
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| DYNAMIC FORMS | THOSE THAT APPEAR LIVELY, MOVING OR CHANGING.
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| METHODS OF HOW 2-D ART IS SHOWED | 1. OVERLAPPING
2. SHADING AND MODELING
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| PRINCIPLES OF DESIGN | THE ORGANIZING FACTORS IN THE VISUAL ARTS. (THE ACTUALLY SALAD.)
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| OVERLAPPING | SHOWING AN OBJECT IN FRONT OF ANOTHER
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| SHADING AND MODELING | USED IN 2-D ART TO BRING ABOUT A SENSE OF SPATIAL DEPTH.
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| ORGANIC SHAPE | FREE, REAL WORLD, LIKE TREES
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| GEOMETRICAL SHAPES | CIRCLES, SQUARES, ETC.
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| HARD EDGED SHAPES | CLEARLY DELINEATED FROM THE SURROUNDING AREAS BY CONTRASTS IN COLOR ALONG THE EDGE WHERE THEY MEET.
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| SOFT EDGED SHAPES | EDGES ARE NOT AS PRECISELY DELINEATED.
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| 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.
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| 3-D ART WORK IN SPACE | AT IT'S CORE 3-D ART PHYSICALLY OCCUPIES SPACE AS IT HAS SPATIAL REALITY.
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| ARCHITECTURAL FORMS | 1. CAN DEFINE SMALL SPACES.
2. HAVE THE CAPACITY TO DEFINE THE SPACE OUTSIDE OF ITS PHYSICAL BOUNDARIES.
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| SCULPTURES | CAN ALSO BE USED TO DEFINE SMALL SPACES.
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| 2-D ARTWORK SPACE | 2-D ARTWORK IS DEFINED AS FLAT AND SUBJECT TO MAKE AN ILLUSION OF SPACE.
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| GROUND | THE FLAT PLANE OF A 2-D WORK.
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| FIGURE | OBJECT OR SHAPE ON THE GROUND
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| FIGURE-GROUND RELATIONSHIP | THE FLAT PLANE OF A 2-D WORK AND THE OBJECT OR SHAPE ON THE GROUND.
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| PLACEMENT | AN OBJECT LOWER ON THE PICTURE PLAN IS OFTEN CONSIDERED CLOSER TO THE VIEWER.
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| SCALE SCHANGE | LARGER OBJECTS ARE CONSIDERED CLOSER TO THE VIEWER.
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| LINEAR PERSPECTIVE | MATHEMATICAL DEVICE TO SHOW SPACE DEVELOPED DURING THE RENAISSANCE.
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| ONE POINT PERSPECTIVE | ALL LINES THAT RECEDE FROM THE VIEWER CONVERGE TO THE SAME VANISHING POINT.
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| TWO POINT PERSPECTIVE | PARALLEL LINES CONVERGE TO TWO DIFFERENT VANISHING POINTS
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| THREE POINT PERSPECTIVE | PARALLEL LINES CONVERGE TO THREE DIFFERENT VANISHING POINTS.
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| ATMOSPHERIC PERSPECTIVE | SHOWS HOW OBJECTS TEND TO LOSE DEFINITION, VALUE, AND CONTRAST WHEN THEY RECEDE IN SPACE.
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| POINT OF VIEW | THE ARTIST PLACES THE VIEWER SPATIALLY IN THE PICTURE BY THE POSITION OF THE FIGURES.
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| SCALE | THE MANIPULATION OF SCALE CAN OFTEN BE USED TO GIVE THE VIEWER A NEW PERSPECTIVE ON A WORK OF ART.
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| ACTUAL TEXTURE | WE CAN FEEL WITH OUR HANDS.
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| SIMULATED TEXTURE | VISUAL SENSATIONS OF TEXTURAL QUALITIES ON A SURFACE THAT WOULD ACTUALLY FEEL DIFFERENT IF TOUCHED.
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| VALUE | THE RELATIVE LIGHTNESS OR DARKNESS OF AN AREA. MOST EASILY PERCEIVED WHEN COLOR HUES ARE NOT PRESENT.
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| VALUE SCALE | THE GRADATIONS OF VALUE FROM VERY DARK TO VERY LIGHT.
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| LOCAL VALUE | ACTUAL LIGHTS AND SHADOWS WE SEE ON REAL SURFACES.
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| INTERPRETIVE VALUE | VALUES THAT ARE MANIPULATED BY THE ARTIST.
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| LIGHTING | THE METHOD IN WHICH A SUBJECT IS LIT. THIS CAN OFTEN INFLUENCE THE WAY A WORK OF ART IS PERCEIVED BY THE VIEWER.
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| CHIAROSCURO | THE DEPICTION OF LIGHT AND SHADOW IN 2-D WORK.
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| COLOR | DERIVES FROM THE VISUAL WAVELENGTHS VISIBLE TO THE HUMAN EYE. THESE ARE COMMONLY CATEGORIZED IN THE TERMS OF RED, BLUE, YELLOW, ETC.
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| REFRACTED COLORS | LIGHT OR ADDITIVE COLORS.
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| REFRACTED PRIMARY COLORS | THOSE FROM WHICH ALL OTHER CAN BE DERIVED.
RED, GREEN, BLUE-VIOLET.
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| REFRACTED SECONDARY COLORS | THOSE MIXED FROM THE REFRACTED PRIMARY COLORS.
YELLOW, LIGHT BLUE, PINK
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| REFLECTED COLORS | THOSE CONSISTING OF PIGMENTS (SUBTRACTIVE HUES)
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| PRIMARY REFLECTED COLORS | RED, BLUE, YELLOW
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| SECONDARY REFLECTED COLORS | THOSE MIXED WITH THE PRIMARY REFLECTED COLORS.
ORANGE, GREEN, PURPLE
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| TERTIARY COLORS | THOSE MADE FROM THE MIXING OF PRIMARY AND SECONDARY COLORS.
EXAMPLE: RED AND PURPLE MAKE RED-PURPLE
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| WARM COLORS | THOSE THAT REFER TO FIRE AND HEAT (LIKE RED, YELLOW, ORANGE). TEND TO ADVANCE ON THE PICTURE PLAN
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| COOL COLORS | THOSE THAT ARE ICY WATER. LIKE BLUES AND GREENS. TEND TO RECEDE ON THE PICTURE PLANE(LIKE THE BACKGROUND).
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| MONOCHROMATIC COLORS | THE USE OF ONLY ONE COLOR OR MAJORITY OF ONE COLOR.
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| ANALOGOUS COLORS | THE USE OF COLORS THAT LIE NEXT TO EACH OTHER ON THE COLOR WHEEL.
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| VALUE | IN COLOR IS THE LIGHT AND DARK IN A COLOR HUE.
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| SATURATION | THE AMOUNT OF PIGMENT IN A COLOR HUE.
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| NATURAL COLORS | THOSE THAT ARE ACTUAL COLORS OF A WORK OF ART.
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| APPLIED COLORS | ARE ADDED TO A WORK OF ART.
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| LOCAL COLOR | BASICALLY THE COLOR OF OBJECTS IN THE REAL WORLD.
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| ATMOSPHERIC COLOR | THE VIEW OF THE SUBTLE COLOR REALITIES OF THE WORLD.
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| INTROSPECTIVE COLOR | GUIDED BY THE ARTIST'S INTENT TIN CHOOSING THE COLOR.
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| KINETIC SCULPTURE | ACTUAL MOVEMENT. WORKS THAT FUNCTION NOT ONLY SPATIALLY BUT THROUGH TIME AS WELL.
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| ILLUSION OF MOVEMENT | IN 2-D WORKS ACTUAL MOVEMENT IS IMPOSSIBLE SO AN ILLUSION OF MOVEMENT MUST BE PORTRAYED.
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| VISUAL ELEMENTS ARE OFTEN ARRANGED IN A MANNER..... | WHERE THERE IS A COHERENCE AND UNITY.
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| REPETITION | REPEATING OF A SINGLE DESIGN ELEMENT
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| VARIETY | CHANGE IS USED RATHER THAN REPETITION
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| 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.
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| BALANCE | THE DISTRIBUTION OF APPARENT VISUAL WEIGHTS SO THAT THEY SEEM TO OFFSET ON ANOTHER.
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| SYMMETRICAL BALANCE | VISUAL WEIGHT IS EQUALLY BALANCED AROUND A CENTRAL POINT
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| RADIAL BALANCE | VISUAL WEIGHT IS ARRANGED AROUND A CENTRAL POINT IN ALL DIRECTIONS.
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| ASYMMETRICAL BALANCE | VISUAL WEIGHT OF DISSIMILAR AREAS COUNTERBALANCE EACH OTHER.
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| COMPOSITIONAL UNITY | USING COMPOSITIONAL ELEMENTS TO HOLD TOGETHER OR CREATE STRONG ATTACHMENTS BETWEEN ELEMENTS WITHIN A WORK.
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| EMPHASIS | THE PREDOMINANCE OF ONE AREA OF ELEMENT IN A DESIGN.
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| FOCAL POINT | AWARENESS THAT IS DRAWN TO ONE PARTICULAR POINT OF THE COMPOSITION.
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| ECONOMY | THE ABILITY TO PARE AWAY EXTRANEOUS DETAILS. EXAPLES ARE LOGOS.
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| PROPORTION | PLEASING TO THE EYE
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| RELATIONSHIP TO THE ENVIRONMENT | THE METHOD WHICH A WORK RELATES TO IT'S SELLING CAN GIVE A WORK A MORE COHERENT ASPECT.
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