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Art Appreciation Study Guide 2

by: Ashley Albers

Art Appreciation Study Guide 2 ART_GNRL 1020

Marketplace > University of Missouri - Columbia > Art > ART_GNRL 1020 > Art Appreciation Study Guide 2
Ashley Albers
GPA 3.3

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Art Appreciation exam 2
Appreciation of Art
Bonnie Kerridge
Study Guide
art appreciation mizzou
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This 10 page Study Guide was uploaded by Ashley Albers on Monday March 7, 2016. The Study Guide belongs to ART_GNRL 1020 at University of Missouri - Columbia taught by Bonnie Kerridge in Fall 2015. Since its upload, it has received 177 views. For similar materials see Appreciation of Art in Art at University of Missouri - Columbia.


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Date Created: 03/07/16
Exam 2 Study Guide Chapters 4-7 Chapter 4  The Basket of apples – Cezanne   Formal elements that artists will use to capture the audiences attention  Working at the turn of the century, considered father of modern art, transferred a  lot of the dialogue that we refer to modern period  Complex arrangement of visual elements: o Line, shape, light, color, space (special relationship), time   Still life o Animates picture plane o Dynamic rather than static o Composition o Engages viewer  Line  Fundamental formal element o A line delineates shape (a 2­dimensioanl area)  It indicates the edge of a flat shape o A line delineates mass  (a 3­dimensial volume)   It indicates a 3 dimensional form   Lines can be  o Expressive – rounded o Analytical – stiff and straight  Andy Goldsworthy – Hazel Leaves 1992  Spiral of green hazel leaves  Changeable and impermanent lines are as metaphor for human life  Calder – La Grand Vitesse 1969  Huge red sculpture in Michigan  Another example of articulate expressive line that kind of looks like bug Georgia O’keefe   Oranges and red where one color meets another   Siluette of female figure  Outline – contains shape by establishing edges  Gives idea of the image  House – Jaune quick­to­see Smith  o Political piece, many layers of information including newspaper articles  and wording  Contour line – suggests mass volume   Assumption and consecration of the Virgin – Titian 1516 o Implied line/ Line of sight o 3 horizontal spaces unite the divine and mortal    Alberto Giacometti – Man Pointing  o The figure itself is a line o Gesture of pointing activates space o Thin figure suggests fragility   Starry Night – Van Gogh  o Expressive artist  o Hardly any straight lines in the painting   The Sower – Van Gogh o Movement and quick emotional linear dabs  Analytical line – precise control, mathematical line  Sol LeWitt – Wall Drawing of colored lines   Jasper Johns – Numbers in Color o Analytical with the expressive  A grid system, Numerical system – imply analytical  David – the death of Socrates  o Domination of special areas, 3­dimensioanl figures  o Linear arrangement   Contemporary artists Matthew Ritchie  o Uses all types of lines o The curved line is like a linking gesture that joins things o Uses straight line as an arrow   Hung Liu o Talks about state of being a female in China – Three fujins (a lot of drips)  Attaches bird cages   A line made in the Himalayas – Richard Long o Environmental footprints, marking your footprints  Chapter 5 Shape and Mass  Shape – a flat 2 dimensional area with both height and width o Sultan – Lemons  Interesting materials, art of modern movement, shape formed in yellow against black tar, can tell they are lemons  Flat yellow shape, on an 8ft black back ground shape o Rubin Vase – n/a  Either see two profiles or a vase  Which is positive and which is negative? o M C Escher – green fish  Figure ground relationship  Mass – form, solid 3 dimensional area, volume, height and width and depth o Martin Puryear – Self  Looks like a stone, huge silent figures  Its hallow, a lot of times how we are o Barbara Hepworth –  2 standing vertical masses, negative space/positive space  Sculpture figures occupy space as do humans o Ceremonial Spoon - Liberia  Represents the power of the imagination to transform an everyday object into a symbol of community o Spatial Concepts  Empty space filled with glow of color  Eliasson 1995  Natural light versus yellow light  Depth – technique to show deep space on 2 dimensional spaces o Scale – illusion of foreground and background  Jenny Saville –  How females view and contemplate our physical selves, how we exaggerate our visions of ourselves  Scale of painting, figure, and concept o Overlap – illusion of one in front of another  Van Der Wyden – Deposition  The illusion of space on a picture plane through overlapping the people o Perspective -  One of the tenants of the Italian renaissance  Raphael – School of Athens  A mime to all the great minds that came out of Greece Linear perspective  Linear Perspective – technique that makes use of line to create illusion of depth on a 2 dimensional surface  One point perspective- using a single vanishing point o Vanishing point - A point at which converging lines meet o Duccio – Maesta’ Alterpiece  Annunciation of the death of the virgin  Many attempts for this one point perspective view o Leonardo Da’Vinci - The Last Supper  One point perspective that is completely dominated by Da’Vinci  Painted on plaster with a water based paint o The Wedding Dance – Brueghel the Elder  The figures get smaller as you go back o The Kermis – Rubens  Diagonal vanishing point  Two point perspective – using two or more vanishing points o Gustave Caillebotte – Place De I’Europe on a Rainy Day  Cobblestones lose their form as they go back, the balance of darks and lights, the people in the foreground are greater than the ones in the background  Atmospheric perspective – technique used to create illusion of air and space and depth Foreshortening  Foreshortening - An artistic adjustment of dimensions in order to make up for distortion created by point of view  Dureer – Draftsman Drawing and Reclining Nude o Artist drawing someone  Mantegna – The Dead Christ o Viewing Christ from the feet Modern  Spatial considerations in modern art o Paul Strand – Abstraction, Porch Shadows  High contrast photograph, we wouldn’t know what we were looking at without the title o Matisse – Harmony in Red (the red room)  Not an accurate representation, rather a whimsical take on it  Spatial relationships have completely changed o Cezanne  Disinterest in accurately portraying spatial relationships  Patterns and colors  Father of modern art  Concept of spatial relationships in post-modern art o Jeffrey Shaw – The Legible City Chapter 6 Light  The Dan Flavin Art Institute, NY o Light creates shadow and thus defines figures and mass o Light influences space and spatial relationships o Flavin 1977  The minimalist florescent tubing with certain colors  Taken light and illuminated just the corner  Linear Perspective o One point linear perspective (one vanishing point)  The Last Supper – da Vinci o Two point linear perspective (two vanishing points)  Frontal recession/ diagonal recession   Notre Dame du Haut at Ronchamp – Le Corbusier o Minimalist but strong and spiritual  Dramatic lighting with window like projection fields o Bizarre lighting with shafts of light coming out  Atmospheric Perspective o Quality the atmosphere (haze an humidity)  Darker / bluer color  Less distinct – less contrast o Da Vinci – Madonna of the Rocks  In the front part of the painting its very precise and you can see specific features as you get further back in the picture it becomes less distinct, less contrast, cooler in color o Atmospheric or aerial perspective was used extensively by painters in the 19 century  Thomas Cole – View From Mount Holyoke after thunderstorm (Oil on canvas)  Vegetation very clear in the foreground and becomes less and less precise in the background  Joseph Turner  Ruskin said of Turner: “he who most stirringly and truthfully measured the moods of nature “  Often described as the greatest English painter  Rain, Steam, and Speed – The Great Western Railway o Everything about the painting has to do with great movement of atmosphere o Harbors both types of perspective  Rembrandt - The Mill  With all the indigo colors and colors that recede into the past with the illusion of depth  Colors get darker and darker and you see less contrast as you go further back  Chiaroscuro (Chiaro - “light”, Scuro – “dark”) o The balance of light and shade o Modeling –  Use of chiaroscuro technique manner in which artists depict the gradual transition form light to dark across a rounded surface o Paul Colin – figure of a Woman 1930  The artist shows where the light hits her face (forehead, cheekbone, wedge of nose, etc.) o Paul Prud’hon – Study for La Source  Using shading to show the outline of body parts and the different things that are being hit with light (light coming from up above) o Methods of modeling:  Hatching – closely spaced parallel lines  Crosshatching – multiple series of hatching lines, gives a greater sense of volume and form  Cassatt – The Coiffure o Figure of a woman looking in the mirror as she adjusts her hair  Michelangelo – Head of a Satyr  Shading –  Highlight – direct reflection of light source  Penumbra, umbra, cast shadow  Sphere (light mostly in center)  Value – gradual shift from light to dark  Relative degree of lightness and darkness  Pat Steir o Night Chrysanthemums 1984  Darker colors blacks and reds, slowly gets closer in as each panel goes along o Pink chrysanthemum  Slowly zooms in a little more in each panel  The gray scale - gradual transition from black to white  Range of gradations from black to white  Racing Sideways – Buglaj  Mary Cassatt –  In the Loge o Oil on canvas, portrait of woman in the theatre o Very known for pastel work  Domestic scene with female and child and use of color with light and dark and hatching  Artemisia Gentileschi – Judith and the Maid Servant o The women are shown in the light with darkness behind them, showing the cautiousness o Very dramatic and feminist piece for the 1600s  Chuck Close – Self Portrait o Just use of pencil (54 ½ x 67)  Head of a King o A sculptural form, the lines are just as the lines you would use in drawing, giving emphasis to roundness Color  Transient Rainbow – Cai Qiang o In commemoration of the museum of modern art o A celebration of change o Performance art, pyrotechnics, artificial fireworks o Drawing of transient rainbow  Gunpowder has to do with fleeting, transitory, momentary, qualities of life  This part of the chapter related to the color wheel o Primary and secondary colors  Primary – red yellow blue  Secondary – orange green violet o Each primary or secondary color is a hue  Adding white to hue results in a tint  Adding black creates shade o Colors separated by a prism o Color – a direct function of light o When color is saturated it has intense color, value has to do with relative brightness or darkness (pale blue, dark green)  Artwork Examples o The Creation of Adam – Michelangelo  People assumed he was a Songbird of indigo and browns but just the build up of grease and stuff  Colors were dulled by centuries of dust, smoke, and grease  The restoration of the frescos of the Sistine Chapel  Color is key element of art o Analogous areas of color  Analogous color schemes – color groups closely placed on the color wheel of similar color temperature (cool and warm)  Gifford – 1880 – October in the Catskills  Turner-ish painter creates depth using atmospheric perspective  Creates a sense of spiritual optimism using warm colors  Jane Hammond – Fallen  Leaves as they’ve fallen (makes leaves out of clothes and paper and sews them on to this one massive sculpture o Complementary or contrasting areas of color  Opposites on the color wheel  3 basic sets – orange/blue red/green  Leon Golub –  Worked to create “a sense of tactile tension with events”  Mercenaries III  Pictures of social reality  Other explorations of use of color o George Seurat  Pointillism – little points of color  The human eye mixes the colors optically, complementary or contrasting colors used for intensity  A Sunday on LA Grand Jatte  Little dots that make up an entire image  The Bathers  Important painting because not many people were painting the workers o Chuck Close  Pointillism  Stanley  Use of dots but in a different fashion  Use of size and exaggeration  Local Color o Many greens but can still see what its supposed to be o Stuart Davis – Summer Landscape  Kind of cartoon  Everything is what we expect  Arbitrary selection of color o The Terrace at Vernon – Bonnard  Violet tree so its more what ever the artist wanted  More imagination o Monet – Haystack  Painted them at different times of day to record how the light develops different colors  En plein air – painting in the open air outdoors o The Night Café – Van Gogh  Bright colors with interior not being very uplifting  Tried to express terrible aspects with red and green o Black Lines – Kandinsky  Effervescent positive use of color  Uplifting bright colors Chapter 7 Other Elements Texture – surface quality  Visual indications of tactile sensation  Rough, smooth, silky, course, lined, pattern  Actual texture o Pieta – Michelangelo  Sculpture of woman holding man  Smooth look o Robert Ryman – Long  Feel the roughness of palette knife technique  Impasto: thickly applied paint, edges toward sculpture o View From Primrose Hill – Auerbach  Looks almost like finger paint but if you touched it you would feel the paint on the wood o Mujer Pegada Series No 2 – Neri  Sculpture coming out of image, carved into surface of painting  Visual Texture o Max Ernst – Forest and Dove o Erosion and Strip Farms – Garnett  Black and white photograph  Photography unites visual/actual textures  Strip farms across eroding landscape  Patterns of light an shadow reveal real surface texture Patterns  Cross Page from the Lindisfarne Gospels o Looks like a cross on a quilt  Kente Prestige Cloth o Apart of a certain family unit that has a recognize power o Patterned textiles/ subtly repetitive designs Time  Isidro Escamilla – Virgin of Guadalupe o Visual narrative o Has corner stone of different narratives  Sasetta – Meeting of Saint Anthony and Saint Paul o Unfolding in one narrative  The walking and movement of the saint in the background and in the foreground the meeting of the two o How passage of time onto single 2-dimensional surface  This is me, This is you – Horn o Collage of people  David – Bernini o Fighting and what civilization is about at this time Motion  Waterlillies o Movement in the water  Drift 2 – riley o Visual depiction of heat rising from land o Optical illusion  Jackson Pollock o Splatter painting o Autumn Rhythm – canvas on floor with any form of coloring agent and he bounced around with the colors o The artist moving across surface of painting  Grace Ndiritu – Still Life o Motion element of how we do things


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