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Exam Two Review Guide

by: Nicole Tierney

Exam Two Review Guide ART_GNRL 1020

Nicole Tierney
Appreciation of Art
Bonnie Kerridge

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About this Document

This is a combination of vocabulary terms, notes, and artist that were discussed throughout class and in the book. This exam will be held on Wednesday October 14th and will be over Chapters 4, 5, 6...
Appreciation of Art
Bonnie Kerridge
Study Guide
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This 3 page Study Guide was uploaded by Nicole Tierney on Sunday October 11, 2015. 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 70 views. For similar materials see Appreciation of Art in Art at University of Missouri - Columbia.

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Date Created: 10/11/15
ART GNRL 1020 Bonnie Kerridge EXAM TWO REVIEW GUIDE EXAM DATE 14th October 2015 There should be about 55 written questions MC or TH and approximately 15 images frnm fPYf and le fHY PQ OVERALL IDEAS O 90 O 9 Ideas of formal elements Principles of design VOCABULARY O 90 O O 90 90 O O O 90 90 90 O O O O O O 90 90 90 90 90 90 O O O 90 90 9 Line fundamental element that creates a sense of direction and movement 0 Outline contains a shape by establishing edges 0 Contour line suggests mass and volume 0 Implied line suggests continuance Space represented through shape and mass at or solid Linear perspective technique that makes use of line to create illusion of depth into a 2D surface Foreshortening artistic adjustment of dimensions in order to make up for distortion Atmospheric perspective quality of the atmosphere Chiaroscuro manner in which artists depict the gradual transition from light to dark across a rounded surface 0 Hatchingcrosshatching Value gradual shift from light to dark Hue color Palette color selection Tint color with addition of white Shade color with addition of black Pointillism the human eye mixes the colors optically complementary or contrasting colors used for intensity Local color the color of the object is the color we know it as Texture surface quality Design organize the formal elements into a composition CHAPTER FOUR LINE 0 90 O 90 O 9 Line can 0 Be expressive analytical divide animate connect simply describe agitated think thin smooth continuous interrupted curved straight enclose shapes form shapes createdetermine edges Expressive v analytical line 0 Loose free emotional v precis controlled mathematically organized ARTISTS ART GNRL 1020 Bonnie Kerridge O Juane QuicktoSee Smith Andy Goldsworthy Henri GaudierBrzeska Titian Samba Vincent Van Gogh Paul Cezanne M C Escher Georgia O Keeffe Albert Giacometti Rembrandt Van Rijn Jackson Pollock Sol LeWitt Jasper Johns J acquesLouis David Matthew Ritchie Richard Long Robert Mapplethorpe CHAPTER FIVE SPACE O 90 O O 90 90 O O 90 9 Shape twodimensional height and weight Mass threedimensional height width and depth Linear perspective illusion of depth 0 Onepoint V twopoint I Vanishing point point at which converging lines meet 0 Atmospheric perspective gives illusion of air space and depth Figureground relationship perceptual experience depends on recognition of spatial relationships between objects and surrounding space 0 Figure positive ground negative Depth show deep space scale overlap perspective ARTISTS 0 Jeffrey Shaw Raphael Rogier Van der Wyden Jenny Saville Olfaur Eliasson Paul Cezanne Henri Matisse Paul Strand Mantegna Albrecht Durer Peter Paul Rubens Pieter Brughel the Elder Gustave Caillebotte Leonardo da Vinci Duccio Donald Sultan M C Escher Martin Puryear Barbara Hepworth Julie Mehretu Nave Steve DiBenedetto Beverly Buchanan Theo van Doesburg Utagawa Hiroshige Janine Antoni Terry Winters Feng Mengbo CHAPTER SIX LIGHT AND COLOR O 90 O 90 O O 90 90 O O 90 90 Light helps create shadow which defines the contour of a figure Atmospheric perspective Chiaroscuro 0 Modeling use of chiaroscuro to represent light falling across a curvedrounded surface I Highlights shadows Hatchingcross hatching area of closely spaced parallel linessets of hatches Color 0 Primary red yellow blue 0 Secondary orange green violet 0 Intermediate mixes of the two Color schemes warmcool colors complementary colors ARTISTS 0 Dan Flavin Leonardo da Vinci Gustave Caillebotte Le Corbusier Thomas Cole J M Turner Rembrandt van Rijn Paul Colin Pierre Paul Prud hon Mary Cassatt Michelangelo Nikolai Buglaj Pat Steir Ben Jones Artemisia Gentileschi Hiroshi Sugimoto Cai GuoQiang Gifford Jane Hammond Leon Golub Gerhard Richter Georges Seurat Chuck Close Charles Searles Robert Delaunay ART GNRL 1020 Bonnie Kerridge Sonia Delaunay Stuart Davis Pierre Bonnard Vincent van Gogh Wassily Kandinsky Claude Monet CHAPTER SEVEN OTHER FORMAL ELEMENTS 393 Actual texture V visual texture 0 Describe arts ability to call forth certain tactile sensations 393 Pattern repetitive motifdesign any formal element that is repeated 393 Timemotion tells a story kinetic art 0 Optical painting optical illusions 393 ARTISTS O Michelangelo Robert Ryman Frank Auerbach Manual Neri Max Ernst William A Garnett Miriam Schapiro Isidro Escamilla Sassetta Roni Horn Claude Monet Bridget Riley Jackson Pollock Grace Ndiritu Bill Viola Gianlorenzo Bernini Nicholas Nixon Teresa Hubbard Alexander Buchler CHAPTER EIGHT THE PRINCIPLES OF DESIGN 393 Principles of design 0 Balance emphasis proportion scale repetition rhythm unity 393 Balance even distribution of weight 0 Actual v visual weight 0 Symmetrical v asymmetrical v radial balance Focal point emphasis draws viewer s attention to one area of the work Scale used to describe the dimensions of an art object in relation to the original object Proportion relationships between parts of an object and the wholesurroundings Repetition implies monotony ARTISTS 0 John Singer Sargent Leonardo da Vinci Frank Gehry Enguerrand Quarton Johannes Vermeer Childe Hassam Ida Applebroog Anna VallayerCoster Georges da La Tou Anselm Kiefer Larry Poons DoHo Suh Claes Oldenburg Coosje van Bruggen Hokusai Felix GonzalezTorres Polyclitus Judith F Buca J aob Lawrence Auguste Rodin Layeah Ali James Lavadoer Louise Lawler Elizabeth Murray 0 O O O O 90 90 90 90 90


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