問題一覧
1
is generally regarded as referring to work made between 1970 and the present
contemporary art
2
It also implies art that is made by living artists, but essentially _____is seen as something that has never been done before.
contemporary art
3
Artists share an interest in nature.
bridget riley
4
For me nature is not landscape, but the dynamism of visual forces, an event rather than an appearance. These forces can only be tackled by treating color and form as ultimate identities, freeing them from all descriptive or functional roles.”
bridget riley
5
For me nature is not landscape, but the dynamism of visual forces, an event rather than an appearance. These forces can only be tackled by treating color and form as ultimate identities, freeing them from all descriptive or functional roles.”
nature
6
Most painting in the European tradition was painting the mask. Modern art rejected all that. Our subject matter was the person behind the mask.”
robert motherwell
7
Most painting in the European tradition was painting the mask. Modern art rejected all that. Our subject matter was the person behind the mask.”
portraiture
8
A work of art is a world in itself reflecting senses and emotions of the artist’s world.”
hans hoffmann
9
A work of art is a world in itself reflecting senses and emotions of the artist’s world.”
social commentary
10
Still lifes are always ready to pose. They don’t talk or get tired or need to eat. They possess all the qualities of form and color that are needed to keep a painter occupied for the rest of his life
the common place
11
Contemporary art 4
nature portraiture social commentary the common place
12
Still lifes are always ready to pose. They don’t talk or get tired or need to eat. They possess all the qualities of form and color that are needed to keep a painter occupied for the rest of his life
robert chunn
13
It defined as the units of “building blocks” of matter.
architectural design
14
To enumerate, the elements of art and design are the following:
line, shape, form, space, color, and texture
15
is an element of art.
line
16
refers to the orientation of the line.
horizontal and vertical lines
17
are normally associated with rest or calm. It also alludes to position of the reclined body at rest
horizontal line
18
connote elevation or height, which is usually taken to mean exaltation or aspiration for action. Together, these lines communicate stability and firmness.
vertical lines
19
convey movement and instability, although the progression can be seen
diagonal lines
20
are reminiscent of violence, conflict, or struggle.
crooked lines
21
these are lines that bend or coil. They allude to softness, grace, flexibility, or even sensuality
curved lines
22
These two are related to each other in the sense that they define the space occupied by the object of art.
shape and form
23
Shape refers to two dimensions
height and width
24
form refers to three dimensions:
height weight and depth
25
Two categories can be used as a broad distinction:
geometric and organic
26
these shapes find origin in mathematical propositions. As such, its translation and use are often man-made. These include shapes such as squares, triangles, cubes, circles, spheres, and cones, among others.
geometric
27
Those readily occurring in nature, often irregular and asymmetrical. The design of vase is foliage, a sample from a series that made use of morning glories.
organic
28
related to shape and form is
space
29
It is usually inferred from a sense of depth, whether it is real or simulated.
space
30
is three-dimensional.
real space
31
usually identified with the white space is the
negative space
32
is the space where shadow is heavily used.
positive space
33
can be simulated through a variety of techniques such as shading.
three dimensional space
34
An illusion of three-dimensionality can be achieved in a twodimensional work.
three dimensional space
35
Perhaps one of the elements that enhance the appeal of an artwork.
color
36
Its effect has range, the following the viewer to make responses based on memory, emotion, and instinct, among others.
color
37
This element is property of light, as it is reflected off the object
color
38
The color wheel corresponds to the first property of color,
hue
39
this dimension of color gives its name
hue
40
a. Hue- this dimension of color gives its name. It can be subdivided into:
primary colors secondary colors tertiary colors
41
• Primary colors
red yellow and blue
42
• Secondary colors-
green orange and violet
43
six in total, these hues are achieved when primary and secondary colors are mixed.
tertiary color
44
refers to the brightness or darkness of color.
value
45
Often, this is used by artists to create the illusion of depth and solidity, a particular mood, communicate a feeling, or in establishing a scene (day and night)
value
46
taken as the source of light in the composition.
light colors
47
the lack or even absence of light.
dark colors
48
can be either real or implied
texture
49
This element in an artwork is experienced through the sense of touch (and sight).
texture
50
This element renders the art object tactile.
texture
51
texture can be implied using one technique or a combination of other elements of art.
texture in the two dimensional plane
52
refers to the texture of the three-dimensional art object.
surface texture
53
Is the actual surface of the painting or drawing, where no illusion of a third dimension exists.
planes and perspectives
54
There are three types of perspective, grounded on the number of vanishing points used by the artist:
one-point perspective two point perspective three-point perspey
55
- often used in depicting roads, tracks, hallways, or rows of trees; this type of perspective shows parallel lines that seem to converge at a specific and lone vanishing point, along the horizon line.
one-point perspective
56
pertains to a painting or drawing that makes use of two vanishing points, which can be placed anywhere along the horizon line. It is often used in depicting structures such as houses or buildings in the landscape that are viewed from a specific corner.
two point perspective
57
in this type of perspective, the viewer is looking at a scene from above or below. As the name suggests, it makes use of the three vanishing points, each corresponding to each axis of the scene.
three-point perspective
58
This principle refers to the distribution of the visual elements in view of their placement in relation to each other.
balance
59
Whata are the principles of art/design
balance, scale and proportion, emphasis and harmony, repetition and pattern, contrast, unity snd variety, movement, rhythm
60
There are three forms of balance:
symmetrical asymmetrical radial
61
the elements used on one side are reflected to the other. This offers the most stable visual sense to any artwork.
symmetrical
62
the elements are not the same (or the same weight) on each side, putting the heaviness on one side.
asymmetrical
63
there is a central point in the composition, around which elements and objects are distributed.
radial
64
pertains to the size in relation to what is normal for the figure or object in question.
scale
65
is the size of the components, or of objects in relation to one another when taken as a composition or a unit.
proportion
66
Proportion can be:
natural exaggerated idealized
67
relates to the realistic size relations of visual elements in the artwork, especially for figurative artworks. When it is the accuracy in relation to the real world that the artist is after, this is now referred to as the principal of scale.
natural
68
fers to the unusual size relations of visual elements, deliberately exaggerating the immensity or minuteness of an object
exaggerated
69
most common to those that follow canons of perfection, the sizerelations of elements or objects, which achieve the most ideal size-relations.
idealized
70
allows the attention of the viewer to a focal point (s), accentuating or drawing attention to these elements or objects.
emphasis
71
is the disparity between the elements that figure into the composition
contrast
72
is the principle that aims to retain the interest by allowing patches or areas that both excite and allow the eye to rest.
variety
73
it is compositions are intended to imbue a sense of accord or completeness from the artwork.
unity
74
dated to
1777; Samvat 897) Distemper on cloth. Gift of Stephen and
Sharon Davies Collection, 2015.
The Metropolitan Museum o
vasudhara mandala
75
unity and variety is related to the principle of __, in which the elements or objects achieve a sense of flow and interconnectedness.
harmony
76
It refers to the direction of the viewing eye as it goes through the artwork, often guided by areas or elements that are emphasized. These focal points can be lines, edges, shape, and color within the work of art, among others.
movement
77
This is created when an element is repeated, creating implied movement. Variety of repetition helps invigorate rhythm as depicted in the artwork.
rhythm
78
Lines, shapes, colors, and other elements may appear in an artwork in recurring manner. This is calle
repetition
79
the image created out of repetition is called
pattern
80
there is a sense of predictability that is conveyed, which in turn imbues the feelings of security and calmness.
repetition
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1
is generally regarded as referring to work made between 1970 and the present
contemporary art
2
It also implies art that is made by living artists, but essentially _____is seen as something that has never been done before.
contemporary art
3
Artists share an interest in nature.
bridget riley
4
For me nature is not landscape, but the dynamism of visual forces, an event rather than an appearance. These forces can only be tackled by treating color and form as ultimate identities, freeing them from all descriptive or functional roles.”
bridget riley
5
For me nature is not landscape, but the dynamism of visual forces, an event rather than an appearance. These forces can only be tackled by treating color and form as ultimate identities, freeing them from all descriptive or functional roles.”
nature
6
Most painting in the European tradition was painting the mask. Modern art rejected all that. Our subject matter was the person behind the mask.”
robert motherwell
7
Most painting in the European tradition was painting the mask. Modern art rejected all that. Our subject matter was the person behind the mask.”
portraiture
8
A work of art is a world in itself reflecting senses and emotions of the artist’s world.”
hans hoffmann
9
A work of art is a world in itself reflecting senses and emotions of the artist’s world.”
social commentary
10
Still lifes are always ready to pose. They don’t talk or get tired or need to eat. They possess all the qualities of form and color that are needed to keep a painter occupied for the rest of his life
the common place
11
Contemporary art 4
nature portraiture social commentary the common place
12
Still lifes are always ready to pose. They don’t talk or get tired or need to eat. They possess all the qualities of form and color that are needed to keep a painter occupied for the rest of his life
robert chunn
13
It defined as the units of “building blocks” of matter.
architectural design
14
To enumerate, the elements of art and design are the following:
line, shape, form, space, color, and texture
15
is an element of art.
line
16
refers to the orientation of the line.
horizontal and vertical lines
17
are normally associated with rest or calm. It also alludes to position of the reclined body at rest
horizontal line
18
connote elevation or height, which is usually taken to mean exaltation or aspiration for action. Together, these lines communicate stability and firmness.
vertical lines
19
convey movement and instability, although the progression can be seen
diagonal lines
20
are reminiscent of violence, conflict, or struggle.
crooked lines
21
these are lines that bend or coil. They allude to softness, grace, flexibility, or even sensuality
curved lines
22
These two are related to each other in the sense that they define the space occupied by the object of art.
shape and form
23
Shape refers to two dimensions
height and width
24
form refers to three dimensions:
height weight and depth
25
Two categories can be used as a broad distinction:
geometric and organic
26
these shapes find origin in mathematical propositions. As such, its translation and use are often man-made. These include shapes such as squares, triangles, cubes, circles, spheres, and cones, among others.
geometric
27
Those readily occurring in nature, often irregular and asymmetrical. The design of vase is foliage, a sample from a series that made use of morning glories.
organic
28
related to shape and form is
space
29
It is usually inferred from a sense of depth, whether it is real or simulated.
space
30
is three-dimensional.
real space
31
usually identified with the white space is the
negative space
32
is the space where shadow is heavily used.
positive space
33
can be simulated through a variety of techniques such as shading.
three dimensional space
34
An illusion of three-dimensionality can be achieved in a twodimensional work.
three dimensional space
35
Perhaps one of the elements that enhance the appeal of an artwork.
color
36
Its effect has range, the following the viewer to make responses based on memory, emotion, and instinct, among others.
color
37
This element is property of light, as it is reflected off the object
color
38
The color wheel corresponds to the first property of color,
hue
39
this dimension of color gives its name
hue
40
a. Hue- this dimension of color gives its name. It can be subdivided into:
primary colors secondary colors tertiary colors
41
• Primary colors
red yellow and blue
42
• Secondary colors-
green orange and violet
43
six in total, these hues are achieved when primary and secondary colors are mixed.
tertiary color
44
refers to the brightness or darkness of color.
value
45
Often, this is used by artists to create the illusion of depth and solidity, a particular mood, communicate a feeling, or in establishing a scene (day and night)
value
46
taken as the source of light in the composition.
light colors
47
the lack or even absence of light.
dark colors
48
can be either real or implied
texture
49
This element in an artwork is experienced through the sense of touch (and sight).
texture
50
This element renders the art object tactile.
texture
51
texture can be implied using one technique or a combination of other elements of art.
texture in the two dimensional plane
52
refers to the texture of the three-dimensional art object.
surface texture
53
Is the actual surface of the painting or drawing, where no illusion of a third dimension exists.
planes and perspectives
54
There are three types of perspective, grounded on the number of vanishing points used by the artist:
one-point perspective two point perspective three-point perspey
55
- often used in depicting roads, tracks, hallways, or rows of trees; this type of perspective shows parallel lines that seem to converge at a specific and lone vanishing point, along the horizon line.
one-point perspective
56
pertains to a painting or drawing that makes use of two vanishing points, which can be placed anywhere along the horizon line. It is often used in depicting structures such as houses or buildings in the landscape that are viewed from a specific corner.
two point perspective
57
in this type of perspective, the viewer is looking at a scene from above or below. As the name suggests, it makes use of the three vanishing points, each corresponding to each axis of the scene.
three-point perspective
58
This principle refers to the distribution of the visual elements in view of their placement in relation to each other.
balance
59
Whata are the principles of art/design
balance, scale and proportion, emphasis and harmony, repetition and pattern, contrast, unity snd variety, movement, rhythm
60
There are three forms of balance:
symmetrical asymmetrical radial
61
the elements used on one side are reflected to the other. This offers the most stable visual sense to any artwork.
symmetrical
62
the elements are not the same (or the same weight) on each side, putting the heaviness on one side.
asymmetrical
63
there is a central point in the composition, around which elements and objects are distributed.
radial
64
pertains to the size in relation to what is normal for the figure or object in question.
scale
65
is the size of the components, or of objects in relation to one another when taken as a composition or a unit.
proportion
66
Proportion can be:
natural exaggerated idealized
67
relates to the realistic size relations of visual elements in the artwork, especially for figurative artworks. When it is the accuracy in relation to the real world that the artist is after, this is now referred to as the principal of scale.
natural
68
fers to the unusual size relations of visual elements, deliberately exaggerating the immensity or minuteness of an object
exaggerated
69
most common to those that follow canons of perfection, the sizerelations of elements or objects, which achieve the most ideal size-relations.
idealized
70
allows the attention of the viewer to a focal point (s), accentuating or drawing attention to these elements or objects.
emphasis
71
is the disparity between the elements that figure into the composition
contrast
72
is the principle that aims to retain the interest by allowing patches or areas that both excite and allow the eye to rest.
variety
73
it is compositions are intended to imbue a sense of accord or completeness from the artwork.
unity
74
dated to
1777; Samvat 897) Distemper on cloth. Gift of Stephen and
Sharon Davies Collection, 2015.
The Metropolitan Museum o
vasudhara mandala
75
unity and variety is related to the principle of __, in which the elements or objects achieve a sense of flow and interconnectedness.
harmony
76
It refers to the direction of the viewing eye as it goes through the artwork, often guided by areas or elements that are emphasized. These focal points can be lines, edges, shape, and color within the work of art, among others.
movement
77
This is created when an element is repeated, creating implied movement. Variety of repetition helps invigorate rhythm as depicted in the artwork.
rhythm
78
Lines, shapes, colors, and other elements may appear in an artwork in recurring manner. This is calle
repetition
79
the image created out of repetition is called
pattern
80
there is a sense of predictability that is conveyed, which in turn imbues the feelings of security and calmness.
repetition