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Study Guide for Art 1030 Exam

by: Benjamin Cane

Study Guide for Art 1030 Exam ART 1030

Marketplace > Middle Tennessee State University > Art > ART 1030 > Study Guide for Art 1030 Exam
Benjamin Cane

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About this Document

These are notes and terms that come from all of Dr. Stoneman's lectures.
Stoneman, K
Study Guide
Art, art appreciation, Art 1030, Lectures, exam
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This 5 page Study Guide was uploaded by Benjamin Cane on Monday February 15, 2016. The Study Guide belongs to ART 1030 at Middle Tennessee State University taught by Stoneman, K in Summer 2015. Since its upload, it has received 27 views. For similar materials see ART APPRECIATION in Art at Middle Tennessee State University.


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Date Created: 02/15/16
Art Appreciation 1030 Kyle Stoneman Exam Study guide 1. Commercial value a. Given the recent prices at the top market, there is interest from collectors,  investors, banks, wealth, and etc. 2. In terms of the art market a. Art valuation involves comparing into from multiple sources such as… i. Art auction houses, private and corporate collectors, curators, art  dealers, galleries, and consultants to arrive. 3. The art market relies on connoisseurship a. Knowledge acquired through hands on experience. b. Competent to pass critical judgement in an art, particularly one of the five  arts, or in matters of taste. c. Connoisseurship: Provenance i. Provenance is a French Term meaning history of ownership of a  valuable object. ii. Previous ownership 1. Dealers 2. Collectors 3. Auction 4. Dates 4. Authentication (who made it) a. Signatures b. Labels c. How and when it was painted d. Take caution as labels can be appliec and signatures can be fraudulent 5. Interpretation and judgement a. But we should not  be generous in our embrace of all art 6. Artistic value a. The value of art is not solely about money, but intrinsic value. 7. Do we need a definition of art? Is it possible? a. Morris Welts argues that we will never obtain an adequate definition of  what is art. 8. A very open definition or what is. a. We will subscribe to what is called the institutional theory or definition of  art. b. It was put forth by two really important theorist, Geoge Diobi and Arthur  Dants. c. The definition really hangs on 3 things nomination, context, and accepting the authority of the world. Color and Light 1. Leonardo Da Vinci concerned himself with writing “rules” for 2. Atmospheric or Aerial perspective a. Objects that are farther away appear less distinct, bluer in color, and have reduced light/dark contrast Contrast: Light and Dark 1. The relative level of lightness or darkness of an area or object is traditionally called it  relative value. 2. When white is added to the basic hue (color), The variation is called a tint.  3. When black is added to the basic hue, the variation is called a shade. a. For example, pink is a tint of red; maroon is a shade of red. Chiaroscuro 1. Chiaroscuro refers to the balance of light and shade in a work 2. Most often exhibited when the artist transitions from light to dark around a curved  surface 3. Using chiaroscuro on a curved surface is called modeling. 4. Tenebrism is a technique separate from modeling in which areas of dark contrast with  smaller brightly. 5. Hatching is an area of closely spaced parallel lines a. The coiffure by Mary Cassatt uses parallel lives Color 1. Color alerts us to pay attention, and to what is important. 2. It guides the viewer but also helps organize a composistion. The visual spectrum is organized 1. Primary colors: Red, blue, and yellow 2. Primary colors cannot be made Warm and Cool colors 1. Psychologically, warm colors are said to be stimulating and passionate. 2. Color scheme: analogous­harmonious after found in nature. 3. Monochramatic: A single law plus its tints, loves, and shades (Think values of  colors) 4. Local and perpetual a. Local colors is what we know how it should be. b. Arbituary: It is color that is neitherlean to its optical are local color. Sculpture 1. Sculpture employs two processes a. Subtractive processes are when the sculptor works with materials larger than the  finished work and the mass has pieces removed until the mass achieves its final  form.  b. Additive processes are when the artist builds the work from added materials. Moldeling 2. This is an additive process in which a pliant substance (usually clay) is molded 3. Clay can be made more durable by firing in a kiln, or oven, and high temperatures. Carving 1. Material being carved, chipped, gauged, or hammered away from inert block of raw  material.  2. Sculpters who work in wood must pay attention to the wood’s grain, as working against it could destroy it. 3. Stone has a different qualitites and must be worked with accordingly. Relief 1. A carved relief sculpture has three dimensional depth but is only meant to be viewed  from one side or frontally.  2. Low(bas­) reliefs and high(haut­) relief are ways to describe this type of sculpture  according to how shallow or deep its characteristics are carved. a. High relief sculptures project from their base by at least half their depth. Sculpture in­the­round 1. Freestanding sculpture demands movement of the movement of the viewer to see it from  all sides. The Three forms of sculptural space 2. Sculptures include into the viewers space Assemblage 3. Assemblage is the process of bringing individual objects together to form a larger whole. Enviornments 4. Environments are sculptural


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