Comparing Art: Paul Cezanne

800-1000 words
Mainly look at the document, use the art lesson specialized word
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Art 1 Test: Chapters 1 – 5 Key Terms, Bolded Words, Lecture Terms and Artworks Lecture terms from Chapters 1 and 2 and “Understanding Comics” Key Terms Abstract art – art that depicts natural objects in a simplified, distorted, or exaggerated way. Content - the meaning or message communicated by a work of art, including its emotional, intellectual, symbolic, thematic, and narrative connotations. Form – the total effect of the combined visual qualities within a work, including such components as materials, color, shape, line, and design. Iconography – the symbolic meanings of subjects and signs used to convey ideas important to particular cultures or religions. Medium (plural media) – a particular material along with its accompanying technique. Nonrepresentational art – art without reference to anything outside of itself. Representational art – art that recognizably represents or depicts a particular subject. Aesthetics – in the art context, the philosophy of art focusing on questions regarding what art is and how it is evaluated, the concept of beauty, and the relationship between the idea of beauty and the concept of art. Idealism – the representation of subjects in an ideal or perfect state or form. Gestalt Theory – closure, continuation, similarity, anomaly, proximity, lack of proximity Readymade sculpture – an object chosen by an artist to be a work of art, though this object may not necessarily be made by the artist. Marcel Duchamp’s Fountain is the first readymade. Key Words Work of art Mixed media Folk artist Outsider artist Representational art Abstract art Nonrepresentational art Figurative art Subjects Nonobjective art Form Content Iconography trompe l’oeil Figure Ground Positive space Negative space Propaganda Artworks (the test will include SOME of the following works) Will Harnett. A Smoke Backstage (Fig. 1.10) René Magritte. The Treachery of Images (Fig. 1.11) Edward Weston. Pepper #30 (Fig. 1.17) Constantin Brancusi. The Kiss. (Fig. 1.19) Scott McCloud diagram representing a face in a visually realistic way, abstractly and using language. Marcel Duchamp. Fountain. 1917. World Wildlife Federation logo (panda bear) Chapter 3: Visual Elements Key terms Analogous colors – colors that are adjacent to each other on the color wheel, such as blue, blue-green, and green. Atmospheric perspective – a type of perspective in which the illusion of depth is created by changing color, value and detail. Complementary colors – two hues directly opposite one another on a color wheel, such as red and green, that, when mixed together in proper proportions, produce a neutral gray. Figure-ground reversal – a visual effect in which what was seen as a positive shape becomes a negative shape, and vice versa. Geometric shape – any shape enclosed by square or straight or perfectly circular lines. Hue – that property of color identifying a specific, named wavelength of light such as green, red, violet and so on. Intensity – the relative purity or saturation of a hue (color), on a scale from bright (pure) to dull. Linear perspective – a system of perspective in which parallel lines appear to converge as they recede into the distance, meeting at a vanishing point on the horizon. Mass – the physical bulk of a solid body of material. Organic shape – an irregular, non-geometric shape. Picture plane – the two-dimensional picture surface. Value – the relative lightness and darkness of surfaces. Bolded words Two-dimensional Three-dimensional Line Implied line Geometric shapes Organic shapes biomorphic shapes Picture plane Figures/positive shapes Ground/negative shapes Figure-ground reversal Mass Volume Closed form Open form Vertical Placement Perspective Linear Perspective Renaissance Vanishing point Horizon line eye level Vantage point One-point perspective Atmospheric or aerial perspective Kinetic art Value Chiaroscuro Local color Achromatic or Neutral Hue Value Shade Tint Intensity Saturation Subtractive color mixtures Primary hues Secondary hues Intermediate hues Color schemes Analogous color scheme Complementary color scheme Texture Impasto Artworks (the test will include SOME of the following works) Lee Friedlander. Bismark, North Dakota. (Fig. 3.2) M.C. Escher. Sky and Water I. (Fig. 3.11) Alberto Giacometti. Man Pointing (Fig. 3.14) Paul Cézanne. Still Life with Apples. (Fig. 3.20) Raphael. The School of Athens. (Fig. 3.22) Asher Brown. Kindred Spirits. (Fig. 3.24) Alexander Calder, Untitled. (Fig. 3.33) Vincent van Gogh. The Starry Night. (Fig. 3.53, see fig. 21.30 for full view) Chapter 4: Principles of Design Key Terms Asymmetrical balance – the various elements of a work are balanced but not symmetrical. Directional forces – pathways that the artist embeds in a work for the viewer’s eye to follow. Focal point – the principal area of emphasis in a work of art; the place to which the artist directs the most attention through composition. Format – the shape or proportions of a picture plane. Pattern – the repetitive ordering of design elements. Scale – the size relation of one thing to another. Symmetrical balance – the near or exact matching of left and right sides of a three-dimensional form or a two-dimensional composition. Bolded Words Composition Design Unity Variety Balance Emphasis Subordination Directional forces Contrast Repetition Rhythm Scale Proportion Pattern Lines Shapes Lecture Terms Artworks (the test will include SOME of the following works) Jacob Lawrence. Going Home. (Fig. 4.3) Pieter de Hooch. Interior of a Dutch House. (Fig. 4.4) Titian. Noli Me Tangere. (Fig. 4.9) Francisco Goya. Bullfight: The Agility and Daring of Juanito Apinani (Fig. 4.12) Ogata Korin. Cranes. (Fig. 4.16) Claes Oldenburg and Coosje can Bruggen. Shuttlecocks. (Fig. 4.18) Chapter 5: Evaluating art Key Terms and Bolded Words Art criticism – the process of using formal analysis, description, and interpretation to evaluate or explain the quality and meanings of art. Formal Theories – a method of art criticism that values stylistic innovation over personal expression or cultural communication. Contextual theories – a method of art criticism that focuses on the cultural systems behind works of art; these may be economic, racial, political, or social. Expressive theories – a method of art criticism that attempts to discern personal elements in works of art, as opposed to formal strategies or cultural influences. Cubism – Early twentieth-century art style. Based on simultaneous presentation of multiple views, disintegration, and geometric reconstruction of subjects in flattened, ambiguous pictorial space; figure and ground merge into one interwoven surface of shifting planes. What makes a work of art great? With the three theories in hand art critics and art historians decide which artworks belong in a museum or textbook. “Some degree of innovation, important cultural meanings, and a recognizable personal statement are key ingredients. Not all three are necessary, but at least one must be strongly present.” (p. 92). Remember that the monetary value (even if it’s in the millions) of a work does not alone indicate whether it is important. Three steps of evaluating art from the ground up (Summarized from p. 92) 1. Get the Facts: Write the essential information about the work (artist, title, size, medium, year). Describe the work. 2. Analyze: Observe the parts of the work and how they fit together. How does the choice of medium affect the work? What are the formal elements? Does the work fit into a context, movement or time period? Consider it in relation to the artists overall output, is it an early work or later work? 3. Evaluate: Use the three types of criticism to assess the quality or historical importance of the work. Artworks (the test will include SOME of the following works) From lecture and Chapter 5: Evaluating Art Charles Peterson. Nirvana stage diver. Photograph. 1990. Paul Strand. Wall Street. 1915. Platinum print. Image: 9 3/4 × 12 11/16 inches, Sheet: 9 15/16 × 12 11/16 inches. In Textbook: Titian. Pietà (Fig. 5.3) Sonia Delaunay-Terk. Simultaneous Contrasts (Fig. 5.4) Jean-Michel Basquiat. Horn Players (Fig. 5.5)