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ART 100 study guide 1 for test 9-21-15

by: Jennifer Cox

ART 100 study guide 1 for test 9-21-15 ART 100-02

Marketplace > University of North Carolina - Greensboro > Art > ART 100-02 > ART 100 study guide 1 for test 9 21 15
Jennifer Cox
GPA 3.6
Introduction to Art
Jennifer V. Reich

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Introduction to Art
Jennifer V. Reich
Study Guide
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This 5 page Study Guide was uploaded by Jennifer Cox on Monday September 14, 2015. The Study Guide belongs to ART 100-02 at University of North Carolina - Greensboro taught by Jennifer V. Reich in Fall 2015. Since its upload, it has received 50 views. For similar materials see Introduction to Art in Art at University of North Carolina - Greensboro.

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Date Created: 09/14/15
ART 100 92115 Art 100 study guide Recap Art is an idea 39 that is communicated in some way 39 involves some kind of creativity or innovation propaganda for what really matters Art s purposes or at least some of them 39 keeps us hopeful 39 makes us feel less lonely rebalances us 39 helps us appreciate stuff How art looks Representational depicts forms that you see in the real world something you can take a picture of Nonrepresentational does not aim to represent the natural world Realistic closely resembles the natural world Abstract purposefully simplifies fragments or distorts the natural world Examples Sculpture depiction Q representational or nonrepresentational A nonrepresentational Tip don t focus on what it looks like and begin to construct meaning just describe what you actually see square circle triangle etc Painting depiction Q representational or nonrepresentational A representational Q realistic or abstract A realistic Painting depiction 2 Q representational or nonrepresentational A representational Q realistic or abstract A abstract Art and meaning m what the object looks like materials style composition Content what is the work of art about Iconography describing images involves identifying describing and interpreting subject matter logo symbolism Context personal and social circumstances surrounding the making viewing and interpretation of a wrk of art the valued connections a work of art to the larger world of its time and place Art and Society Artists in antiquity before 500 CE 39 Workshops Patrons 39 Artistlaborer Emphasis on the teamworkshop rather than an individual creator EXCEPTION The Greeks Signed their works Begin to recognize individual artists as having unique talents Artists in the middle ages 5001400 CE Still group dynamic Add monks and nuns as artists 39 Guilds EXCEPTION Chinese artists 39 Signed their work Recognized as scholarindividuals Artists in the renaissance 14001600 Artists trained intellectuals Apprenticeship 39 But art schools academies founded By the end of the renaissance artists inspired geniuses Artists in the 17th C 39 Switching from patrons to an open market to beginning of the modern art market 39 Artists start creating art for their own satisfaction 39 Art academics begin to take hold Artists in the 18th C 39 Art academies not apprenticeship model anymore 39 Patronage still mostly from royals nobles or church Art painting sculpture poetry music and dance 3 types of art Fine arts Utilitarian arts Architecture arts Artists in the 19th C 39 Artists become increasingly independent 39 Commissioned works and artists own work about equal now Art becoming more democratic Artists in the 20th C 39 Artists become even more independent Role of the patron nearly entirely gone Still determining this story Elements of Art art two value the relative lightness or darkness of a hue Hue family name of a color grey or red Artists use value to help stimulate the illusion of 3dimensionality Important terminology Modeling simulating the effects of light and shadow to portray optically convincing masses making what is actually 2D look 3D 39 Chiaroscuro lightdark 39 Hatching parallel line 39 Cross hatching parallel lines crossed by perpendicular Stippling dots 39 Monochromatic color harmony 39 Complementary colors opposite colors on a color wheel 39 Actual texture able to literally feel the the items of texture on a piece Visual texture able to see the texture in a piece but not actually feel 39 Pattern any decorative receptive motif or design that can create a visual texture 39 Linear perspective a way for artists to create an optically convincing space 39 Foreshortening reducing or distorting objects that recede into space in order to convey the illusion of threedimensional space perceived by the human eye The principles of design Unity and variety Balance Emphasis and subordination Proportion ans scale 39 Rhythm Unity and variety Unity sense of oneness of things belonging together an creating a coherent whole Variety difference which provides interest Visual weight the apparent heaviness or lightness of the forms arranged in a composition as gauged by how insistently something appears Ingredients an artist has in his pantry Line 39 Shapemass 39 Light 39 Color Texturepattem 39 Space Time Outline The edge of a shape or gure depicted by an actual line drawn on the surface that defines a 2D shape Contour line drawn to record boundaries we perceive of 3D forms Implied lines created by movement or direction such as the line established by a pointed finger the direction of a glance or a body moving through space Vertical lines assertive strong and stable Horizontal lines calm and reserved Diagonal lines imply action and create tension Shape 2D occupies an area with identifiable boundaries created by line shift in texture or shift in color Massvolume 3D occupies a volume of space and implies volume density and wright Either can be GEOMETRIC or ORGANIC free form Figure Part to focus on Ground background of the piece Actual time timebased media like lm video interactive art etc OR art that changes over time Implied time implication of time in a static work One method combing sequential images into one work The principles of design Unity and variety Balance Emphasis and subordination Proportion and scale 39 Rhythm Unity and variety Unity sense of oneness of things belonging together and creating coherent whole Variety difference which provides interest Balance 39 Visual weight the apparent heaviness or lightness 39 Encourages the viewer to actively participate in looking 39 Leads our eyes around a work 39 Structures how you look at a work Communicates mood 39 Symmetrical balance forms on either side of a vertical aXis correspond to one another in size shape and placement 39 Expresses order harmony and authority 39 Relieved symmetry almost symmetrical but not 39 Asymmetrical balance when the two sides of a composition are not symmetrical one side is visibly heavier and the other side is lighter 39 EXpress tension chaos instability


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