This document provides an overview of key concepts in art appreciation, including the visual elements (line, shape, mass, space, value, color, light, texture, pattern, perspective) and principles of design (unity, variety, balance, subordination, emphasis, scale, proportion, rhythm). Each element and principle is defined in one to three sentences. The document also includes several images as examples.

1. Art Appreciation Chapters 4 & 5

6. LINE A path traced by a moving point or a mark with the point being the smallest of all visual elements. Movement, direction and emphasis implied by lines convey different characteristics and psychological effects. Types of lines: actual, implied, incised, raised, contour, variation, cross-hatched, lines formed by edges Linear forms are interpreted as lines

22. SHAPE a 2-dimensional form that occupies an area with identifiable boundaries. ---------------------------------------------------------------- a 3-dimensional form that occupies a volume of space. MASS

23. The Madonna of the Meadows, Raphael, 1505, oil on panel

24. The Raven and the First Men, Bill Reid, 1983, Laminated yellow cedar

25. SPACE In 3-dimensions, an area in which anything with mass exists. In 2-dimensions, it only has height and width, but no depth. It is a limited or unlimited area appearing to advance, recede, or extend in all directions.

26. The Nose,Alberto Giacometti, 1947

30. VALUE The relative lightness or darkness of a color in relation to another, as well as the relationship of light to dark. Hue – the name used to distinguish one color from another. The word “hue” is used interchangeably with the term “color.” Tint – a color lighter than the hue’s normal value. Adding white usually produces a tint. Shade – a color darker than the hue’s normal value. Adding black usually produces a shade.

36. COLOR A function of light where the physiological activity of the human eye and the science of electromagnetic wavelengths are the process necessary for it function. Color are the components of light revealed when refracted through a prism. When arranged on a color wheel, colors are labeled: primary, secondary and tertiary

44. LIGHT A type of radiant energy that reveals the world of forms and spatial relationships. Actual light – Natural light. Light produced by electricity. In art, this type of light is used in architecture and some sculpture. The illusion of light – Light which is created in an artwork by the use of paint or another medium. The artist most often creates this illusion with value changes.

59. 1978-79

63. 1986-87

73. TEXTURE A quality experienced through touch or through touch visualization.

76. PATTERN A decorative repeating motif or design.

79. PERSPECTIVE Any system for depicting the illusion of 3-dimensional space on a 2-dimensional surface. LINEAR perspective (also called scientific) one-point -- two-point Isometric perspective Aerial perspective Ground perspective

80. One-point Linear Perspective

81. Two-point Linear Perspective

95. TIME A progression or sequence that creates an actual or implied sense of life/time passing. Time is the element in which we live. It is sometimes referred to as the forth dimension.

101. MOTION An actual (kinetic) or implied sense of movement.

106. Calder, flamingo

107. Danube bicycle http://www.youtube.com/watch?v=LeBiqVJrJ08&feature=PlayList&p=BA532D06AA211E8E&index=17

108. Arthur Ganson, “Machine with concrete” http://www.boingboing.net/2009/09/15/motor-attached-to-se.html

110. End of chapter 4 The Visual Elements ------ Begin chapter 5 Principles of Design

111. UNITY A sense of oneness, of things belonging together and making a coherent whole.

112. VARIETY The difference between objects using any of the visual elements.

113. Black Face and Arm Unit, Ben Jones,1971, Painted Plaster

114. Black Face and Arm Unit, Ben Jones,1971, Painted Plaster

116. Joseph Cornell, Habitat Group for a Shooting Gallery, 1943

117. Joseph Cornell, Untitled (The Hotel Eden), c. 1945

118. Joseph Cornell, Untitled (Paul and Virginia), c. 1946-48

119. Joseph Cornell, Untitled (Pharmacy), 1943

120. Jackson Pollock, Shimmering Substance, 1946

121. BALANCE In either 2-D or 3-D, the visual “heaviness” or “lightness” of forms arranged in a composition. Symmetrical Balance Asymmetrical Balance

122. L. Brent Kington,

123. Georgia O’Keeffe, Deer’s Skull with Pedernal, 1936

124. Frida Kahlo, The Two Fridas, 1939

131. Gustav Klimt, Death and Life, before 1911

132. Sakai Hoitsu, Summer Rain, late 18th century

135. EdouardManet, A Bar at the Folies-Bergere, 1881-82

136. Rose Window, Notre Dame, Paris

137. SUBORDINATION Certain areas of a composition purposely made less visually interesting.

138. EMPHASIS A certain part of the composition that has the viewer’s attention, especially small, clearly defined areas such as the focal point.

139. Henry Ossawa Tanner, The Banjo Lesson, 1893

140. Paul Cezanne, Still Life with Compotier, Pitcher, and Fruit, 1892-94

141. Executions of the Third of May, 1808, Francisco de Goya, 1814-15

142. SCALE Size in relation to a standard or “normal” size. ------------------------------------------------------------- The size relationships between parts of a whole or between two or more items perceived as a unit. PROPORTION

143. Oldenburg and van Bruggen, Plantoir, 2001

144. Rene Magritte, Delusions of Grandeur II, 1948

145. Leonardo da Vinci, Vitruvian Man, 1485-90

146. RHYTHM Can be based on repetition of any of the visual elements.

147. Piet Mondrian, Broadway Boogie-Woogie, 1942-43