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144 Cards in this Set
- Front
- Back
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2. Existentialist (Existentialism) (pg. 93) –
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Literary and Philosophical Movement of the early 20th Century, Characterized by Belief that Humans are Free and Responsible for their Actions, which Lead to Humanities Pain and Anguish.
A literary and philosophical movement of the early 20th century characterized by the belief that human beings are free and responsible for their behavior and actions. This freedom, according to proponents Søren Kierkegaard, Jean-Paul Sartre, and Martin Heidegger, leads to humanity’s pain and anguish. |
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3. Context (pg. 94) –
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The surroundings, circumstances, environment, background, or settings, which determine, specify, or clarify the meaning of an event (or art). (I found this definition online as there wasn’t a clear definition in the book).
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4. Pop Art (pg. 22) –
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An art style originating in the 1960’s that uses commercial and popular images and themes as its subject matter.
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11. Psychic Automatism (pg. 98) –
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Clearing the Mind of Purpose and Concerns so Inner Conflicts and Ideas can find Expression in a Work of Art
A process of generating imagery through ideas received from the unconscious mind and expressed in an unrestrained manner. |
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13. Formalist Criticism (pg. 99) –
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Approach to Art Criticism Concentrating mainly on Elements and Design, Instead of Historical Factors or the Bibliography of the Artist
An approach to art criticism that concentrates on the elements and design of works of art rather than on historical factors or the biography of the artist. |
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Chapter 4
Artists: 1. Roy Lichtenstein (pg. 92) – |
“Forget It! Forget Me” (1962) Magna and Oil on Canvas (79-7/8” x 68”)
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2. Henri de Toulouse-Lautrec (pg. 93) –
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“The Two Girfriends” (1894) Oil on Cardboard (48 cm x 4.5 cm)
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3. Robert Mapplethorpe (pg. 93) –
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“Ken Moody and Robert Sherman” (1984) Photograph
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4. Oscar Kokoschka (pg. 94) –
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“The Tempest” (1914) Oil on Canvas (71-1/2” x 86-1/2”)
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***5. Constantin Brancusi (pg. 94) –
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“The Kiss” (1912) Limestone (23” x 13” x 10”)
KNOW THIS IS (Abstract) |
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6. Jackson Pollock (pg. 95) –
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“Male and Female” (1942) Oil on Canvas (73-1/3” x 49”)
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7. Barbara Hepworth (pg. 95) –
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“Two Figures (Menhirs)” (1954 - 1955) Teak (H = 54”)
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8. Claude Monet (pg. ) –
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a
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9. Auguste Renoir (pg. ) –
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a
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10. Rembrandt (pg. ) –
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a
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11. El Greco (pg. ) –
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a
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12. Vincent van Gogh (pg. ) –
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a
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13. Grant Wood (pg. 97) –
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“American Gothic” (1930) Oil on Beaverboard (29-7/8” x 24-7/8”)
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14. Donna Rosenthal (pg. 97) –
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“He Said…She Said: Lets Get Physical” (1999) Mixed Media (Suit: 12” x 12”, Dress: 10” x 8” x 8”)
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15. Pablo Picasso (pg. ) –
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a
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16. Georges Braque (pg. ) –
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a
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17. Jacques Lipchitz (pg. 98) –
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Quote on top of page “Copy nature and you infringe on the work of our Lord. Interpret nature and you are an artist.”
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18. Judy Pfaff (pg. 98) –
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“Voodoo” (1981) Contact Paper Collage on Mylar (98” x 60”)
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20. Barbara Kruger (pg. 101) –
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“Untitled (We Don’t Need Another Hero)” (1987) Photographic Silkscreen, Vinyl (109” x 210”)
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21. Sandow Birk (pg. 99) –
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“Death of Manuel” (1992) Oil on Canvass (33” x 25”)
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22. Edgar Degas (pg. 102) –
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Quote on top of page “The artist does not draw what he sees, but what he must make others see. Only when he no longer knows what he is doing does the painter do good things.”
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23. Josef Albers (pg. 102) –
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Quote on top of page “Visual formulation of our reaction to life.”
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24. Andrew Wyeth (pg. 102) –
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Quote towards bottom of page, left column “I prefer winter and fall, when you feel the bone structure in the landscape – the loneliness of it – the dread feeling of winter. Something waits beneath it – the whole story doesn’t show.”
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25. Bronzino (pg. 102) –
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“Venus, Cupid, Folly, and Time (The Exposure of Luxury)” (c. 1546) Oil on Wood (Approximately 61” x 56-3/4”)
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26. Willie Bester (pg. 103) –
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“Semekazi (Migrant Miseries)” (1993) Oil, Enamel Paint, and Mixed Media on Board (49-1/4” x 49-1/4”)
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27. Helen Frankenthaler (pg. ) –
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a
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Chapter 4
Study Questions: 1. Define style, form, and content. |
Style (pg. 92) –
Characteristic Mode of Artistic Expression or Design A distinctive handling of elements and media associated with the work of an individual artist, a school or movement, or a specific culture or time period. Form (pg. 99) – Totality in a Work of Art The totality of what the viewer sees in a work of art; a product of the composition of visual elements. (Includes the colors used, textures and shapes, illusion of 3-D, balance, rhythm, or unity of design. Content (pg. 99) – Everything Contained in a Work of Art All that is contained in a work of art; the visual elements, subject matter, and underlying meaning or themes. |
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2. What is the difference between realistic and representational art?
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Realistic Art (pg. 95) - Portrayed by Accurate and Truthful Subject Matter (Seen or Viewed through Truth)
Representational Art (pg. 96) - Presents Natural Objects in Recognizable, but Not Realistic, Form |
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3. Jacque Louis-David was most likely a(n) ____________ artist?
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a
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4. What is expressionism?
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A modern school of art in which an emotional impact is achieved through agitated brushwork, intense coloration, and violent, hallucinatory imagery.
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5. What is the difference between abstract and non-objective art?
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Abstract (pg. 96) – Art that Departs Significantly from the Actual Appearance of Things
Nonobjective (pg. 96) – Makes No Reference to Nature or Reality |
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6. What is one of the best ways to illustrate stylistic differences?
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Choose a group of works with a common theme and challenge ourselves to articulate the similarities and differences between them.
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7. Define drawing.
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The Result of an Implement Running Over a Surface and Leaving Some Trace of the Gesture
The art of running an implement that leaves a mark over a surface; a work of art created in this manner. |
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8. What does support mean for drawing?
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A surface on which a 2-D (usually) work of art is made.
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11. What images were created by our primitive ancestors in charcoal?
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a
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12. What culture mastered pen and ink and used it for centuries?
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Have been used since ancient times, and became popular since the middle ages (CANNOT FIND the culture who invented it.)
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13. What is a cartoon…in different eras?
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________ were originally full-scale preliminary drawings done on paper for projects for such things as fresco paintings, stained glass, or tapestries.
They were expanded to include humorous and satirical drawings when a parody of fresco ________ submitted for decoration of the Houses of Parliament appeared in an English magazine in 1843. |
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15. What is encaustic and what could it be used for?
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One of the early methods of applying color to a surface. It consists of pigment in a wax vehicle that has been heated to a liquid state.
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16. The painting medium used in the Middle Ages was primarily?
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Tempera
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17. What was the main painting medium for the Byzantine and Romanesque era of Christian art?
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Gouache
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18. What is a collage? Who were the cubist artists that were the 1st to use it?
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An assemblage of 2-D objects to create an image; works of art in which materials such as paper, cloth, and wood are pasted to a 2-D surface, such as a wooden panel or canvas; Picasso and Braque were the 1st to use it.
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19. What is watercolor paint?
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Paint with a water medium. Mixing pigments with a gum binder and thinning the mixture with water usually make ___________.
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20. What are “tags” to the master artist?
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What we consider graffitti.
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21. What is acrylic paint?
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A paint in which pigments are combined with a synthetic plastic medium that is durable, water soluble, and quick drying.
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3. Monochromatic (pg. 106) –
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One-Colored
Literally, “one-colored”; descriptive of images that are executed in a single color or with so little color contrast as to appear uniform in hue. |
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4. Linear (pg. 106) –
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Determined or characterized by the use of line.
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5. Dry Media (pg. 108) –
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Drawing materials that do not involve the application of water or other liquids. Contrast with fluid media.
(Can include silverpoint, pencil, charcoal, chalk, pastel, and wax crayon.) |
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7. Ground (pg. 108) –
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Surface which 2-D Art is Created; Coat of Liquid Material Applied to a Surface used as a Base for Drawing or Painting; the Background in a Composition
The surface on which a 2-D work of art is created; a coat of liquid material applied to a surface that serves as a base for drawing or painting; also, the background in a composition. Also see figure-ground relationship. |
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8. Gum (pg. 108) –
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Sticky Substance used to Bind Pigments
A sticky substance found in many plants, used to bind pigments as found, for example, in silverpoint, chalk, and pastel drawings. |
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9. Pigment (pg. 108) –
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Coloring matter that is usually mixed with water, oil, or other substances to make paint.
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10. Pencil (pg. 108) –
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A rod-shaped drawing instrument with an inner shaft that is usually made of graphite.
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11. Graphite (pg. 108) –
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A soft black form of carbon used as a drawing implement (from graphein, Greek for “to write”).
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13. Chalk (pg. 111) –
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A form of soft limestone that is easily pulverized and can be used as a drawing implement.
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14. Pastel (pg. 111) –
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A drawing implement made by grinding coloring matter, mixing it with gum, and forming it into a crayon.
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15. Binder (pg. 111) –
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A material that binds substances together.
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16. Gum Arabic (pg. 111) –
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A gum obtained from the African acacia plant.
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17. Ocher (pg. 111) –
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A dark yellow color derived from an earthy clay.
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18. Umber (pg. 111) –
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A kind of earth that has a yellowish or reddish brown color.
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19. Sanguine (pg. 111) –
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Blood colored, ruddy; cheerful and confident (from Latin for “blood”).
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20. Crayon (pg. 112) –
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A small stick of colored wax, chalk, or charcoal.
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21. Conté Crayon (pg. 112) –
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A wax crayon with a hard texture.
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22. Fluid Medium (pg. 114) –
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Liquid-based drawing materials; fluid is the ink, medium is the pen and brush. Contrast with dry media.
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23. Papyrus (pg. 114) –
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A writing surface made from the papyrus plant.
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25. Pen and Ink (pg. 114) –
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Fluid is Ink, and the Medium is Pen
The primary fluid medium used in drawing is ink, and the instruments used to carry the medium are pen and brush; the earliest ones were hollow reeds that were slit at the ends to allow a controlled flow of ink. |
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26. Quill (pg. 114) –
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A pen made from a large, stiff feather.
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27. Nib (pg. 114) –
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The point of a pen; the split and sharpened end of a quill pen.
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28. Stylus (pg. 114) –
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A pointed, needlelike tool used in drawing, printmaking, making impressions on electronic media, etc.
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29. Pen and Wash (pg. 115) –
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Fine, clear lines of pure ink are often combined in drawings with wash, diluted ink that is applied with a brush.
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30. Wash (pg. 115) –
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Diluted Ink Applied with a Brush
A thin, watery film of paint, especially watercolor, applied with even, sweeping movements of the brush. |
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31. Brush and Ink (pg. 115) –
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Brushes come in a Wide Variety of Materials, Ink Application will Differ in Artwork depending on Materials (Bristle or Nylon), Thickness, and Tip
Brushes are available in a wide variety of materials, textures, and shapes that afford many different effects. The nature of a line in brush and ink will depend on whether the brush is bristle or nylon, thin or thick, pointed or flat tipped. |
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32. Brush and Wash (pg. 116) –
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Can Duplicate Brush-and-Ink Drawings, also can Produce Tonal Contrasts, Ink can be Diluted to Provide Wide Tonal Range
Can duplicate the linearity of brush-and-ink drawings, but can also be used to create images solely through tonal contrasts. The ink can be diluted to varying degrees to provide a wide tonal range. |
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Chapter 5
Artists: 1. Giorgio Vasari (pg. 105) – |
Quote at top of page “Drawing… is the necessary beginning of everything in art, and not having it, one has nothing.”
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2. Rembrandt van Rijn (pg. 106) –
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“Copy of Leonardo da Vinci’s Last Supper” Red Chalk on Paper (14” x 18-1/4”)
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3. Gary Kelley (pg. 107) –
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“Promotion for the Mississippi Delta Blues Festival” (c. 1989) Pastel 24” x 14”
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4. Salvador Dali (pg. 108) –
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Quote at top of page “Drawing is the honesty of the art. There is no possibility of cheating. It is either good or bad.”
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5. Alphonse Legros (pg. 108) –
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“Head of a Man” (19th Century) Silverpoint on White Ground (8-3/4” x 7”)
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6. Giorgio de Chirico (pg. 109) –
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“Condottiero” (1917) Pencil (12-3/8” x 8-1/2”)
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7. Alberto Giacometti (pg. 109) –
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“Head” (1946) Pencil (5-7/8” x 4-1/4”)
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8. Adrian Piper (pg. 109) –
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“Self-Portrait Exaggerating My Negroid Features” (1981) Pencil on Paper (10” x 8”)
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9. Käthe Kollwitz (pg. 110) –
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“Self-Portrait” (1924) Charcoal (18-3/4” x 25”)
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11. Michelangelo (pg. 111) –
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“Studies for The Libyan Sybil” (1510 - 1511) Red Chalk (11-3/8” x 8-3/8”)
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12. Jean-Baptiste Carpeaux (pg. 111) –
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Portrait of a Woman (1874) Black Chalk Heightened with White, on Buff Paper (7-7/8” x 5-7/8”)
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13. Edgar Degas (pg. 112) –
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“Woman at Her Toilette” (1903) Pastel on Paper (30” x 30-1/2”)
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14. Jaune Quick-to-See-Smith (pg. 112) –
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“The Environment: Be a Shepherd” (1989) Charcoal, Colored Chalk, and Pastel (47” x 31-1/4”)
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15. Beverly Buchanan (pg. 113) –
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“Henriette’s Yard” (1995) Oil Pastel on Paper (60” x 60”)
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16. Chuck Close (pg. 114) –
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“Self-Portrait/Conté Crayon” (1979) Conté Crayon on Paper (29-1/2” x 22”)
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17. Jean Dubuffet (pg. 115) –
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“Garden” (1952) Pen and Carbon Ink on Glazed White Wove Paper (18-3/4” x 23-3/4”)
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18. Henri Matisse (pg. 115) –
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Quote at top of page “Drawing is like making an expressive gesture with the advantage of performance.”
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19. Giovanni Battista Tiepolo (pg. 115) –
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“Hagar and Ishmael in the Wilderness” (c. 1725 – 1735) Pen, Brush and Brown Ink, and Wash, Over Sketch in Black Chalk (16-1/2” x 11-1/8”)
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20. Katsushika Hokusai (pg. 116) –
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“Boy Playing Flute” (c. 1800) Ink and Brush on Paper (4-1/2” x 6-1/4”)
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21. Camille Pissarro (pg. 116) –
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Quote at top of page “It is only by much drawing, drawing everything, drawing unceasingly that one fine day one is very surprised to find it possible to express something in its true spirit.”
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22. Leonardo da Vinci (pg. 116) –
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“Study of Drapery” (c. 1473) Brush, Tray Wash, Heightened with White, on Linen (7-3/8” x 9-1/4”)
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23. Claude Lorrain (pg. 117) –
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“Tiber above Rome” (c. 1640) Bush and Wash (18.5 cm x 26.8 cm)
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24. Honoré Daumier (pg. 118) –
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“Counsel for the Defense (the Advocate)” (1862 - 1865) Pen and Ink, Charcoal, Crayon, Gouache, and Watercolor (20-3/8” x 23-3/4”)
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25. Dr. Seuss (pg. 118) –
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“Cages Cost Money! Buy More U.S. Savings Bonds and Stamps!” Cartoon
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26. Santiago Calatrava (pg. 119) –
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Quote on top of page “Drawing is among the most personal things you can do. It doesn’t have any rhetoric or anything to tell. It’s a dialogue between the art and yourself.”
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27. Robert Jolley (pg. ) –
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a
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28. Jackson Pollock (pg. 119) –
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“Untitled” (1950) Pencil, Duco on Paper (22” x 59-3/8”)
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29. Margaret Honda (pg. 119) –
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“Exchange” (2003 - 2004) Vinyl on Mylar, 50 Elements (Dimensions Variable)
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Chapter 6
Vocabulary: 1. Painting (pg. 121) – |
The application of a pigment to a surface; a work of art created in this manner.
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2. Paint (pg. 122) –
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A mixture of a pigment with a vehicle or medium.
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4. Medium (pg. 122) –
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Materials and Methods used to Create Images or Objects in the Arts
The materials and methods used to create an image or object in drawing, painting, sculpture, and other arts (from Latin for “means”). |
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5. Fresco (pg. 122) –
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The Art of Painting on Plaster
A type of painting in which pigments are applied to a fresh, wet plaster surface or wall and thereby become part of the surface or wall (from Italian for “fresh”). |
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6. Buon Fresco (pg. 122) –
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True fresco, executed on damp lime plaster. Contrast with fresco secco.
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7. Fresco Secco (pg. 122) –
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Dry fresco; painting executed on dry plaster. Contrast with buon fresco.
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8. Encaustic (pg. 123) –
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Pigment in Wax Vehicle Heated to a Liquid State
A method of painting in which the colors in a wax medium are burned into a surface with hot irons. |
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10. Gesso (pg. 124) –
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Combination of Powdered Chalk or Plaster and Animal Glue
Plaster of Paris that is applied to a wooden or canvas support and used as a surface for painting or as the material for sculpture (from Italian for “gypsum”). |
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11. Gilding (pg. 124) –
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Application of Thinly Hammered Sheets of Gold to Panel Surface
To apply thin sheets of gold leaf or goldlike substance to a surface. |
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12. Egg Tempera (pg. 124) –
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A painting medium in which ground pigments are bound with egg yolk.
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14. Glazing (pg. 124) –
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Application of Multiple Layers of Transparent Films of Paint to a Surface
In painting, a semitransparent coating on a painted surface that provides a glassy or glossy finish. In ceramics, a hard, glossy coating formed by applying a liquid suspension of powdered material to the surface of a ware, which is then dried and fired at a temperature that causes the ingredients to melt together. |
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17. Aquarelle (pg. 130) –
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A watercolor technique in which a transparent film of paint is applied to a white, absorbent surface.
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20. Gallery (pg. 132) –
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A place where artists showcase their artwork.
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21. Mixed Media (pg. 132) –
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The use of 2 or more media to create a single image.
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Chapter 6
Artists 1. Robert Motherwell (pg. 121) – |
Quote on top of page “Suddenly I realized that each brushstroke is a decision…In the end I realize that whatever meaning that picture has is the accumulated meaning of ten thousand brushstrokes, each one being decided as it was painted.”
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2. Giotto (pg. 122) –
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“Lamentation” (c. 1305) Fresco (7’7” x 7’9”)
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3. Vincent van Gogh (pg. 122) –
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Quote on top of page “Just dash something down if you see a blank canvas staring at you…You do not know how paralyzing it is, that blank staring of the canvas which says to the painter: You do not know anything.”
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4. Maurice Denis (pg. 123) –
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Quote on top of page “Remember that a picture – before being a horse, a nude, or some sort of anecdote – is essentially a flat surface covered with colors assembled in a certain order.”
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5. Leonardo da Vinci (pg. 126) –
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Quote on top of page “A good painter is to paint two things, namely, man and the working of man’s mind”
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6. Faiyum Artist (pg. ) –
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a
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7. Kay Walkingstick (pg. 124) –
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“Solstice” (1982) Acrylic and Wax on Canvas (48” x 48” x 3-1/2”)
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8. Gentile da Fabriano (pg. 125) –
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“Adoration of the Magi” (1423) Tempera on Wood Panel (9’ 10-1/8” x 9’ 3”)
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9. Franz Gertsch (pg. 125) –
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“Silvia” (1998) Tempera on Unprimed Canvas (9’ 6-1/2” x 9’ 2-1/4”)
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10. Rembrandt van Rijn (pg. 126) –
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“Head of St. Matthew” (c. 1661) Oil on Wood (9-7/8” x 7-3/4”)
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11. Gilbert Stuart (pg. 127) –
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“George Washington” (1796) Oil on Canvas (39-5/8” x 34-1/2”)
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12. Roy Lichtenstein (pg. 127) –
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“George Washington” (1962) Oil on Canvas (51” x 38”)
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13. Ed Paschke (pg. 128) –
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“Anesthesio” (1987) Oil on Linen (68” x 80”)
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14. Helen Oji (pg. 128) –
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“Mount St. Helen’s” (1980) Acrylic, Rhoplex, Glitter on Paper (60” x 72”)
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15. Roger Shimomura (pg. 129) –
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“Untitled” (1984) Acrylic on Canvas (60” x 72”)
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16. David Hockney (pg. 130) –
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“Punchinello with Block, for Parade Triple Bill” (1980) Gouache on Paper (14” x 17”)
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17. Ralph Goings (pg. 131) –
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“Rock Ola” (1992) Watercolor on Paper (14” x 20-3/4”)
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18. Emil Nolde (pg. 131) –
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“Still Life, Tulips” (c. 1930) Watercolor on Paper (18-1/2” x 13-1/2”)
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19. Jackson Pollock (pg. 132) –
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Quote on top of page “Painting is self-discovery. Every good artist paints what he is.”
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20. Crash (John Matos) (pg. 132) –
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“Arcadia Revisited” (1988) Spray Paint on Canvas (96-1/4” x 68”)
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21. Robert Rauschenberg (pg. ) –
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a
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22. Pablo Picasso (pg. ) –
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23. Georges Braque (pg. ) –
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24. Howardena Pindell (pg. 133) –
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“Autobiography: Water/Ancestors, Middle Passage/Family Ghosts” (1988) Acrylic, Tempera, Cattle Markers, Oil Stick, Paper, Polymer Photo-Transfer, and Vinyl Tape on Sewn Canvas (118” x 71”)
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25. Miriam Schapiro (pg. 133) –
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“Maid of Honour” (1984) Acrylic and Fabric on Canvas (60” x 50”)
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a
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14. 6-8 Roy Lichenstein, “George Washington” (1962)
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