Art Appreciation-Chapter2

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  • which answer is false?? the artist of this work

    a. Created a dramatic, dynamic composition

    b. Was interested in the many lines found in the composition

    c. Was attentive to his surroundings

    d. Encourages his audience to take note of the everyday and overlooked.
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  • Art Appreciation-Chapter2

    1. 1. VISUAL COMMUNICATION CHAPTER 2
    2. 2. LOOKING AND SEEINGLOOKING-TAKING IN WHAT IS BEFORE USSEEING-ACTIVE EXTENSION OF LOOKING ORDINARY THINGS BECOME EXTRAORDINARY WHEN WE SEE THEM DEEPLY
    3. 3. EDWARD WESTON PEPPER #30
    4. 4. THE VISUAL TOOLBOXVISUAL TOOLS USED BY ARTISTS TO CREATE ARTISTICEXPRESSION LINE, SHAPE, MASS, SPACE, TIME, MOTION, LIGHT, COLOR, ABSTRACTION
    5. 5. CHARACTERISTICS OF LINELINES CAN BE ACTIVE OR STATIC, AGGRESSIVE ORPASSIVE, SENSUAL OR MECHANICALLINES CAN: INDICATE DIRECTION DEFINE SHAPES AND BOUNDARIES IMPLY VOLUME OR MASS DEPICT LIGHT AND SHADOW FORM PATTERNS
    6. 6. LEE FRIEDLANDERBISMARCK, NORTH DAKOTA 2002
    7. 7. LINE VARIATIONS ACTUAL LINE
    8. 8. LINE VARIATIONS IMPLIED LINE
    9. 9. LINE VARIATIONSACTUAL STRAIGHT LINES AND IMPLIED CURVE LINE
    10. 10. LINE VARIATIONS LINE CREATED BY EDGE
    11. 11. LINE VARIATIONSVERTICAL LINE, HORIZONTAL LINE
    12. 12. LINE VARIATIONS DIAGONAL LINES
    13. 13. LINE VARIATIONS SHARP, JAGGED LINE
    14. 14. LINE VARIATIONSDANCE OF CURVING LINES
    15. 15. LINE VARIATIONS HARD LINE, SOFT LINE
    16. 16. LINE VARIATIONSRAGGED, IRREGULAR LINE
    17. 17. ALNSELM REYLE UNTITLED 2006
    18. 18. BRIDGET RILEY CURRENT 1964
    19. 19. TORII KIYOTADA
    20. 20. KORII KIYOTADA
    21. 21. KIKI SMITH GINGER 2000
    22. 22. IMPLIED LINEIMPLIED LINES-SUGGEST VISUAL CONNECTIONS CAN SERVE AS AN UNDERLYING STRUCTURE
    23. 23. SHAPESHAPE-EXPANSE WITHIN THE OUTLINE OF A TWO-DIMENSIONAL AREA OR WITHIN THE BOUNDARIES OF ATHREE-DIMENSIONAL OBJECTTWO CATEGORIES GEOMETRIC SHAPES-CIRCLES, TRIANGLES... ORGANIC SHAPES-IRREGULAR SHAPESSHAPES ON A PICTURE PLANE CAN ALSO CREATE ASECONDARY SHAPE IN THE NEGATIVE SPACE
    24. 24. IMPLIED SHAPE
    25. 25. M.C. ESCHERSKY AND WATER 1 1938
    26. 26. MASSA 2-DIMENSIONAL AREA IS A SHAPE, BUT A 3-DIMENSIONAL AREA IS A MASSWHEN A MASS ENCLOSES SPACE IT IS VOLUMEMOST OFTEN USED IN SCULPTURE AND ARCHITECTURE
    27. 27. SENNEFERSTEWARD OF THE PALACE 1450
    28. 28. ELIZABETH CATLETT BREAD 1962
    29. 29. SPACESPACE IS THE INDEFINABLE EMPTYHOW AN ARTIST ORGANIZES THE SPACE IS A VERYIMPORTANT STEP IN THE MAKING OF THEIR ART3D SPACE IS EXPERIENCED BY THE VIEWER2D SPACE IS SIMPLY THE PARAMETERS OF THE ART, BUTSPACE CAN BE IMPLIED
    30. 30. CESAR PELLI AND ASSOCIATESNORTH TERMINAL, RONALD REAGAN WASHINGTON NATIONAL AIRPORT
    31. 31. TOMB OF NEBAMUN POOL IN THE GARDEN
    32. 32. IMPLIED DEPTHWHEN SHAPES OVERLAP, WE ASSUME THAT ONE IS INFRONT OF THE OTHERDIMINISHING SIZE-AS THINGS GET FURTHER AWAY,THEY APPEAR SMALLERVERTICAL PLACEMENT-THINGS LOWER ON THE PICTUREPLANE APPEAR CLOSER
    33. 33. CLUES TO SPATIAL DEPTH
    34. 34. MU QISIX PERSIMMONS 1269
    35. 35. LINEAR PERSPECTIVEPERSPECTIVE REFERS TO POINT OF VIEWIN ART, PERSPECTIVE REFERS TO THE REPRESENTATIONOF 3D OBJECTS IN SPACE
    36. 36. LINEAR PERSPECTIVE
    37. 37. RAPHAELTHE SCHOOL OF ATHENS 1508
    38. 38. ATMOSPHERIC PERSPECTIVEATMOSPHERIC OR AERIAL PERSPECTIVE-DEPTH ISCREATED BY DIFFERENCE IN COLOR, VALUE, AND DETAILAS THINGS GET FURTHER AWAY, THEY APPEAR MOREINDISTINCT AND CONTAIN LESS CONTRAST BETWEENLIGHT AND DARK
    39. 39. ASHER BROWEN DURAND KINDRED SPIRIT 1849
    40. 40. SHEN ZHOUPOET ON A MOUNTAIN TOP 1427-1509
    41. 41. TIME AND MOTIONTIME-FOURTH DIMENSION IN WHICH EVENTS OCCUR INSUCCESSION
    42. 42. AZTEC CALENDAR 1479 STONE
    43. 43. SASSETTA AND WORKSHOPTHE MEETING OF ST. ANTHONY AND ST. PAUL
    44. 44. GARY PANTER BACK TO NATURE 2001
    45. 45. MOTIONARTISTS OFTEN TRY TO FIND WAYS TO DEPICT MOTIONMOTION CAN GIVE A LIFE LIKE QUALITY TO A WORKTWO CATEGORIES: IMPLIED MOTION ACTUAL MOTION
    46. 46. DANCING KRISHNA
    47. 47. JENNY HOLZER UNTITLED 1989
    48. 48. LIGHTLIGHT CAN DRASTICALLY CHANGE HOW WE SEE A PIECEOF ART, SPECIFICALLY SCULPTUREVALUE REFERS THE DARKNESS OF LIGHTNESS OF ASURFACE
    49. 49. DANIEL CHESTER ABRAHAM LINCOLN 1850-1931
    50. 50. ANNIBALE CARRACCI HEAD OF YOUTH 1560-1609
    51. 51. COLORCOLOR CAN AFFECT OUR THOUGHTS, MOODS, ACTIONS,AND EVEN HEALTHMOST CULTURES USE COLOR SYMBOLICALLYCOLOR IS THE EFFECT OF LIGHT ON OUR EYES WHITE LIGHT CONTAINS ALL COLORS COMBINED TO SEE A COLOR IS TO SEE PART OF WHITE LIGHT
    52. 52. PIGMENTS AND LIGHTWHEN LIGHT REFLECT OFF OF A SURFACE, SOME LIGHTIS ABSORBED AND SOME LIGHT IS REFLECTED. THEREFLECTED LIGHT MAKES THE COLORWHEN ALL LIGHT IS ABSORBED IN THE SURFACE, ITAPPEARS BLACK
    53. 53. COMPONENTS OF COLORHUE- THE SPECTRAL COLOR (RED, GREEN, YELLOW...)VALUE-LIGHTNESS OR DARKNESS OF THE COLOR ADD BLACK TO CREATE A SHADE OF A COLOR ADD WHITE TO CREATE A TINT OF A COLORINTENSITY/SATURATION-PURITY OF THE HUE
    54. 54. HUE
    55. 55. VALUE
    56. 56. VALUE
    57. 57. INTENSITY
    58. 58. PIGMENT PRIMARIESSUBTRACTIVE COLOR MIXTURE
    59. 59. LIGHT PRIMARIESADDITIVE COLOR MIXTURE
    60. 60. COLOR WHEELPRIMARIES-RED, YELLOW, BLUESECONDARY-MIXTURE OF TWO PRIMARIES ORANGE, GREEN, VIOLETINTERMEDIATE-BETWEEN PRIMARIES AND SECONDARIES RED-ORANGE, YELLOW-ORANGE, YELLOW-GREEN, BLUE-GREEN, BLUE-VIOLET, RED-VIOLET
    61. 61. WARM/COOL COLORS
    62. 62. JAMES ABBOTT MCNEILL WHISTLERMONOCHROMATICCOLOR SCHEME USESVARIATIONS OF THESAME HUETHE ARTIST MAY FEELTHIS COLORREPRESENTS A MOOD
    63. 63. JENNIFER BARTLETTANALOGOUS COLORSCHEMES ARE BASEDON COLOR NEAR EACHOTHER ON THE COLORWHEEL
    64. 64. KEITH HARINGCOMPLEMENTARYCOLOR SCHEMES USEHUES ON OPPOSITESIDES OF THE COLORWHEELINTENSIFIES CONTRAST
    65. 65. ART AND REALITYHOW AN ARTIST APPROACHED REALITY IS PART OFTHEIR VISUAL TOOLBOXHOW REALITY IS DEPICTED: REPRESENTATIONAL ABSTRACT NONREPRESENTATIONAL
    66. 66. REPRESENTATIONAL ARTDEPICTS THEAPPEARANCE OFTHINGSREPRESENTATIONALART DEPICTSSUBJECTS
    67. 67. ABSTRACT ARTABSTRACT IS TO TAKETHE ESSENCE OF ANOBJECT OR IDEAABSTRACT ART CAN: HAVE NO REFERENCE TO REAL OBJECTS SIMPLIFY OR EXAGGERATE OBJECTS
    68. 68. NON REPRESENTATIONALVISUAL FORMS WITHNO REFERENCES TOANYTHING REAL
    69. 69. FORM AND CONTENTFORM-WHAT WE SEECONTENT-THE MEANING WE GET FROM WHAT WE SEE
    70. 70. ICONOGRAPHYSYMBOLIC MEANING OFSIGNS, SUBJECTS, ANDIMAGES

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