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VISUAL ART (CST) COMP II - FINAL EXAM QUESTIONS WITH COMPLETE SOLUTIONS
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energetic and fluid are"
is called"
are"
of an artwork is known as"
rather than man-made are"
spheres, and cubes is" "Asymmetrical, symmetrical, and radial are the three types of _________ used to create stability
called"
areas of an artwork"
progression, repetition, or alteration"
resulting in a feeling of wholeness is"
color wheel are"
"art that has no recognizable subject matter such as objects, trees, or figures is called_________.
"What is a method of hand-building in clay that uses snakelike rolls of clay and smoothing over
Movement" "The relationship between several objects or between parts of a single object or person is called
"What sculpture technique creates a neat and crisp fold when using cardboard, paper or metal?
"What building was built around 447 - 432 BC by architects Kallikrates and Iktinos and is located
"Which artist was a twentieth century British sculptor whose large abstract sculptures are based
"What is the process of kneading and cutting raw clay and then forcibly throwing pieces down on
assemblages"
"What is the supporting skeletal structure that prevents a sculpture from collapsing during
"What building was built around 72 - 80 in Rome, Italy? This structure was used for combat, naval
Colosseum"
cool water until islands form on the surface"
art in order to discover relationships between elements of design."
"During what period in art history did architects use flying buttresses, pointed arches, ribbed vaulting, gargoyles, and stained glass? One example of architecture constructed during this time is the Notre Dame cathedral, which was begun in Paris, France in 1163 and took over 100 years to
"Blue-green, blue-violet, yellow-green, yellow-orange, red-orange, and red-violet are what
emphasis" "What is one of the greatest Hellenistic sculptures? It is the symbol of winged victory portrayed in
of Samothrace"
Description, analysis, interpretation, judgement" "What is art that is an expression in pure design form and shows no representation of natural or
"This prehistoric sculpture has a bulbous figure that is thought to represent fertility and a plentiful
"What is a design principle that refers to differences in value, colors, and textures in order to
Nike of Samothrace" "what culture from Africa began making cast bronze portraits and figure sculptures (with a head-
Period" "who created a series of metal sculptures titled "Cubi", where the forms were stacked one on top
-Idealized figures -Exemplify order and harmony"
-Found in Asia Minor, Mesopotamia, Egypt -More melodramatic than Classical style"
with herbal and mineral dyes, especially carmine red. -Shamans created sand paintings to heal disease, promote fertility, or assure a successful hunt."
represent gods and teach religion -Also decorated ceremonial underground kivas in Arizona with elaborate mural paintings of agriculture deities"
and decorated houses and canoes -Facial features of masks exaggerated in forceful wood carvings."
shamans -Often combined odd materials in surprising ways"
temples in stepped-pyramid form -Huge limestone temples were richly carved with relief sculpture and hieroglyphics."
human sacrifices -Skilled in gold work"
temples and metallurgy"
Place: Chartres, France -Sculpture: Cathedral exteriors displayed carved Biblical tales, approached sculpture in the round, the body was viewed as the envelope of the soul so artists once again depicted flesh naturally -Stained glass and more natural looking sculpture -Tapestries: weavers created highly refined tapestries, minutely detailed w/ scenes of contemporary life. (Unicorn tapestries-symbolized the resurrected Christ)"
-Da Vinci, Michelangelo, & Raphael -Architecture: used the same principals of harmonious geometry that underlay painting and sculpture, recovered the magnificence of ancient Rome (revived elements like the rounded arch, concrete construction, domed rotunda, portico, barrel vault, and column) Symmetry & regularity, ideals of order, simplicity, and harmonious proportions Depended on arithmetic to produce beauty and harmony, layouts relied on geometric shapes, especially the circle & square -Ideal beauty, simplified forms & measured proportions, religious and mythological scenes, figures were heroic male nudes, portraits were formal & reserved, fresco, tempera, & oil paintings, emphasis on underlying anatomical structure, theory was the basis, and composition was static & balanced"
understanding of anatomy & perspective, intent to reproduce the forms of nature realistically Art was the means to explore all facets of life on earth -Top 4 break throughs: oil on stretched canvas, use of perspective, the use of light & shadow (chiaroscuro), and pyramidal composition in paintings -Achieved new heights in portraiture, landscape, mythological & religious paintings -Theatrical art & architecture was of unprecedented grandeur and was designed to overwhelm the senses & emotions -Masaccio, Donatello, Botticelli"
contrapposto -bodies are distorted-generally elongated but sometime grossly muscular -colors are lurid-heightening the impression of tension, movement, and unreal lighting. -dissonance, emotion, & imagination -compositions were oblique, w/ a void in the center & figures crowded around-often cut off by the edge of the frame -means a work of art done according to an acquired style rather than depicting nature -Traits like a plunging diagonal perspective, using light for emotional effect"
-Curviliniear, delicate ornementations (curlicues, flowers, shells, leaves, sinuous S and C curves, arabesques, ribbonlike scrolls) -Playful, superficial, alive with energy, decorative and nonfunctional, frilly -Gilded woodwork, painted panels, enormous wall mirrors -Used white, silver, gold, light pinks. blues and greens"
Renaissance and the emotion, intensity, and drama of Mannerism -Most sumptuous and ornate in the history of art -Expanded the role of art into everyday life -Styles ranged from Italian realism to French flamboyance -Most common element throughout was a sensitivity to and absolute mastery of light to achieve maximum emotional impact -Art featured vigorous movement and vivid colors, had a theatrical ,stage-lit exuberance and drama to it with an emphasis on emotion (featured theatrical lighting, curvilinear rhythms that lead the eye to the central figure, and contained a tragic theme that elicited a powerful emotional response) -Love of pomp (a show of magnificence) -In Catholic countries magnificent cathedrals and grand works displayed the faith's triumph after the Counter Reformation and to attract new worshipers by overwhelming them with theatrical, "must-see" architecture -In Protestant lands religious imagery was forbidden and paintings tended to be still lifes, portraits, landscapes, and scenes from daily life (In Dutch Baroque its style was realistic and its subject matter commonplace -Caravaggio, Artemisia Gentileschi, Bernini, Rubens, Van Dyck, Rembrandt, Vermeer, Hogarth, Velazquez, Poussin, Claude Architecture: St. Paul's Cathedral, Versailles -See chart on pg. 59"
-Ziggurat "Tower of Babel" -Predominant art form was bas-relief sculpture (often scenes of detailed military exploits and the king's personal courage during hunting expeditions)"
-Colossal architecture and Egyptian art existed to surround the pharaoh's spirit with eternal glory -Wall paintings and hieroglyphics were a form of instant replay, inventorying the deceased's life and daily activities in minute detail.
-Emphasized drawing and line rather than color -Hallmark of Neoclassical style was severe, precisely drawn figures, which appeared in the foreground without the illusion of depth -Brushwork was smooth, compositions were simple, and backgrounds usually included Roman touches like arches or columns. Featured symmetry and straight lines -Figures were more naturalistic and solid, idealized beauty -Architecture: Clones of Greek and Roman temples -Values were order and solemnity, tone was calm and rational, role of art was to inspire and morally uplift -Sculpture: antique figures in an idealized, Classical style style -David, Ingres -American Neoclassicism: Sharply outlines, and lacking focal point. Battle scenes and portraits. Benjamin West, Copley, Stuart"
-Chose emotion and intuition over rational objectivity -Revived interest in medieval tales-Romances -Gothic revival in architecture -Worship of nature (gave natural scenes heroic overtones) -Values were intuition, emotion and imagination, Colors were deep, rich shades, subjects were legends, exotica, nature and violence, genres were narratives of heroic struggle, landscapes, and wild animals, compositions used diagonals, and techniques were quick brushstrokes, strong light- and-shad contrasts -Intense hues, vivid light/dark contrasts, and turbulent forms in broad brushstrokes -Gericault, Delacroix, Constable, Turner, Cole, Bingham, Bierstadt"
alterations -Artists limited themselves to facts of the modern world as they personally experienced them; only what they could see or touch was considered real -Peasants and the urban working class were in -Brought a sense of muted sobriety to art -Images of nature were created from observation -"Painting is essentially a concrete art and must be applied to real and existing things" -Portraits captured the essence of the individual, were made to flatter the model -Courbet, Corot, Homer, Eakins, Sargent"
momentary feel, or impression, of the piece they were drawing
-Represented immediate visual sensations through color and light -Main goal was to present an "impression" or the initial sensory perceptions recorded by an artist in a brief glimpse -Discovered that color is not an intrinsic, permanent characteristic of an object but changes constantly according to the effects of light, reflection, or weather on the objects surface -Short, choppy brushstrokes -Flickering light and color -No use of outlines, just touches of color to indicate form and volume -Brightly colored spots formed a mosaic of irregular daubs throbbing with energy (at close range, the daubs of pure color side by side looked unintelligible, at a distance, the eye fused separate streaks of blue and yellow into green making each hue seem more intense then if mixed on a palette) -Subjects were outdoors, seasides, Parisian streets and cafes, purpose was to portray immediate visual sensations of a scene -Composition seemed nonexistent, so overloaded was one side of the canvas, with figures chopped off by the picture frame -Portrayed a slice of contemporary life or a flash snapshot of nature -Manet, Monet, Renoir, Degas (see chart on pg. 97), Cassatt, Morisot, Pissarro"
-Statue's show extreme naturalism -Emphasis on personal experience as the source of art -The body in motion was Rodin's means of expressing emotion -He portrayed psychological complexities and made sculpture a vehicle for personal expression"
color and spontaneous brushwork but that employs these elements as expressive devices -Rainbow bright color patches -Wanted art to be more substantial -Group was split into two: 1) Seurat (dot theory aka pointillism) & Cezanne (color planes) concentrated on formal, near scientific design 2) Gaugui, Van Gogh, & Lautrec emphasized expressing their emotions and sensations through color and light -See chart on pg. 113"
-Portrayed emotions through distorting form and color -Revival of graphic arts -Art should express the artist's feelings rather than images of the real world
-Boccioni"
-Means "The Style", in this movement artists and architects advocated a severe art of pure geometry -New style called Neo-Plasticism: The goal was to create a precise, mechanical order lacking in the natural world -Major contribution to art was its drive toward absolute abstraction, without any reference whatsoever to objects in nature"
Machine Age by rejecting all historical ornament -Goal was high-tech, clean designs -Houses were seen as a machine for living -Style was glass and steel boxes -Favorite subject was geometry -Bauhaus School of Design -Gropius, Mies, Le Corbusier, Frank Lloyd Wright"
-Main strategy was to denounce and shock -Hoped to awaken the imagination -Art that was purely imaginary rather than merely "retinal" (interpreting the visual world) -"We declared that everything that comes into being or is made by man is art" -"To teach man what he had forgotten: to dream with his eyes open" -Contribution was to make art less an intellectual exercise and more a foray into the unpredictable -"What is art?. What isn't" -Duchamp ("Readymades" conceiving a work of art was more important than the finished work), Arp"
-Experimented with automatism-a form of creating without conscious control to tap unconscious imagery -Implies going beyond realism, deliberately courted the bizarre and irrational to express buried truths unreachable by logic -Some artists ( Miro, Ernst) practiced improvised art-distancing themselves as much as possible from conscious control
-Others (Dali, Magritte) used scrupulously realistic techniques to present hallucinatory scenes that defy common sense -"
personal views of the world -Concentrated on taut compositions and pure form -Cartier-Bresson, Man Ray, Atget, Stieglitz, Weston, Lange"
portrayed American life with utmost fidelity -Using ordinary people as their subjects, "art should be down to earth rotted in daily life" -Henri, Sloan, Bellows, Bearden -Style was realistic, sketchlike -Subjects were Urban grit and vigor -Art as activism: American scene-enshrined Midwest values as the essence of American character, took life on the plains as their subject, elevating its inhabitants to heroic stature, romanticized the can-do pioneer spirit in an attempt to inspire optimism in a time of despair (Wood, Benton, Curry) Social Realism-exalted the struggles of the working class, used art to highlight injustice and motivate reform, deeply committed to social change these painters attacked evils of capitalism in a semi-realistic style that exaggerated features, color and scale for emotional impact (Shahn, Marsh, Lawrence, Rivera) Both portrayed simple folk and tried to stir up either pride or protest during a decade of national trouble"
appearance -Dubuffet, Bacon, Kahlo, -Outsider art-work outside the mainstream of professional art, is produced by self taught, inwardly driven artists, encompasses work bu the insane and criminals as well as by unschooled artists, using whatever means and materials were at hand -L'Art Brut- means raw or crude art. Term created by Dubuffet"
techniques like welding, and new forms like assemblage and mobiles -Abstraction was their dominant mode, but experimentation as the chief feature of their art -Moore, Calder, Smith, Bourgeois, Nevelson"
zero, where art existed in the mind more than on canvas -Art resides in the core concept not the practical work -Eliminated the art object altogether, the idea itself even if not made visual is as much a work of art as any finished product -Anything that is neither painting nor sculpture which emphasizes the artist's thinking not his manipulation of materials, any action or thought can be considered Conceptual Art -Idea rather than the art object is paramount -Holzer, Haacke -Made up of Process Art (the process of creating art was more important than the finished piece), Environmental Art, Performance Art (a staged event involving the artist talking, singing, or dancing. Requires artists to use their bodies in front of an audience), Installations (Although the objects seem unrelated the viewer is intended to enter the environment ignorant and emerge enlightened about some pressing social theme the artist has revealed) -Critiques the art market, often relies on words more than images to communicate ideas, attacks the tradition of valuing art objects as precious commodities"
to the mainstream -Infused their intense emotional canvases with autobiographical and social concerns -Revived the angular distortions and strong emotional content of German Expressionism -Brought back recognizable content, historical reference, subjectivity, and social comment -Resurrected imagery, the easel painting, carved or cast sculpture, and the violent, personalized brushstroke -Kiefer, Clemente, Baselitz, Basquiat"
media, and content were expanded to such a degree that nothing seemed off limits and artists grappled with the challenge of being truly original rather than merely novel -Political -Alternative art forms like performance art and hybrid genres like photo-derived art -Artists began to appropriate images from diverse sources that drew on art history and mythology as well as the mass media, combined preexisting images with their own or presented the appropriated images as their own -Appropriation Artists sought to annex both the power of the original image and reveal its manipulative force as propaganda -Kruger, Longo, Sherman -Photography-derived art-one form of Appropriation Art uses photographic images in unexpected combinations to re-interpret history and comment on socio-political issues. Relying
on mechanical reproduction rather than handmade imagery, this new hybrid at form fragments, layers, and juxtaposes photographed images to change their context and meaning -Narrative Art-Rebirth of the painting as an accessible form of storytelling (Fischl) -Graffiti Art -Political Art-Words are often as important as images, much purely visual art has an overtly feminist slant -Sculpture-The use of a wide range of materials, semiabstract, figurative art"
-Merged Dada's radical questioning of accepted practice with an energetic, Abstract Expressionist brushstroke and Surrealist faith in accident -Johns-art is intentionally oblique, cool, and detached yet open to multiple interpretations, chose familiar 2D objects then gave a new identity to these objects which are routinely seen but "not looked at, not examined" -Rauschenberg-invented a hybrid form of art half-painting and half sculpture called "combines", attached eccentric materials into his expressionistically painted canvases, wanted the image to still have the feeling of the outside world rather than cultivate the incest of studio life"
resurrected color, ornament, and historical touches like the dome, arch, and vault -Johnson, Beaubourg, Graves, Gehry, Venturi"
manipulated reality to create fantasies and symbols -The most important trait is diversity -Abbott, Bourke, Adams, Uelsmann -Street Photography-called "snapshot aesthetic", professionals deliberately framed casual unposed photos resembling amateur efforts in order to banish traces of artifice, documented the "social landscape" of cities -Tendency to combine images with text"
paintings -Adopts the flattened effect of a camera image and treats objects as elements in an abstract composition -Close, Estes, Flack"
-Combined computer-generated images, digital video, film, animation, text, sound, and special effects often in ambient environments that engulfed the viewer