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| also called time-lapse photography, stimulated Futurists’ interest in motion |
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| Duchamp emphasizes idea versus craft as central to art; an attack on handcrafting and taste that opened doors for later artists |
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| Part stands for whole in Cubist sculpture and collage (Picasso discovers in African art); forms can read as a body without detail description; part or characteristic signifies body or body elements (e.g. face, lips, eyes) |
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| an architectural structure in which steel beams are joined horizontally and vertically to create a grid-like structural system; allowed buildings to be built upwards (skyscrapers) |
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| a support system in which an architectural member projects horizontally into space beyond its supports, as in Wright’s Fallingwater |
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| principle that buildings should be designed based solely on the purpose and function of the building; came about after WWI; often associated with ideas of socialism and humanism, ideas revolved around needing to build a new and better world |
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| architecture shifted away from its classical symmetrical ideas in the 20th century as the culture shifted post WWI |
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| made by cutting into the broad face of a plank of wood usually with a knife; artist cuts away areas not meant to print (cut away areas appear white and the ink adheres to the raised part that was left); prints what is left on the original surface |
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| the design is cut into the plate by driving furrows with a burin; prints what is below the surface of the plate; deliberate lines; looks like a silvery painting |
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| a metal plate is coated by a material which resists acid (called the ground) then the artist draws his design on the ground with a sharp needle which removes the ground. The plate is then put in an acid bath; the exposed parts get eaten away by the acid which produces the sunken line which will receive the ink; looks like a doodle (suggests rather than describes with informal lines); prints what is below the surface of the plate |
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| creating a burr with a drypoint needle resulting in lines that are not crisp; purposefully blurred and velvety in appearance; creates areas of darkness |
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| Lithography (planographic) |
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| • artist draws directly on a flat stone usually with a greasy crayon. The stone is dampened with water, then inked. The ink clings to the crayon, not to the stone; alters the chemistry on the surface but doesn’t cause damage; prints what is drawn on the surface |
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| artist prepares a tightly-stretched screen, usually made of silk, and blocks out areas not to be printed by filling up the mesh of the screen with a varnish like substance; ink is transferred onto a substrate, except in areas made impermeable to the ink by a blocking stencil. |
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| the woodblock, metal plate, or stone used in print making |
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| the property of a color that distinguishes it from others; also the name of the color |
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| the relative darkness (low value) or lightness (high value) of a hue |
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| intensity or purity of a hue |
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| any of a group of colors from which all other colors can be obtained by mixing (red, yellow, blue) |
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| a color resulting from the mixing of two primary colors (orange, green, purple) |
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| colors directly opposite each other in the color spectrum, such as red and green or blue and orange |
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| pigment is ground and mixed with water and colored liquid is applied to wet plasters (i.e. Sistine Chapel) |
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| transparent pigments are ground into a paste in water and mixed with egg yolk as a binder, usually done on wood paneling |
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| transparent or opaque pigments are mixed with oil and applied to canvas stretched over wood |
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| one figure positioned in front of the other |
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| objects appear smaller as their distance from the viewer increases |
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| Realtive position in the field |
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| The higher up the objects are placed in the picture, the farther away we assume them to be. Objects placed lower in the picture appear nearer to us |
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| method of rendering a specific object or figure in a picture in depth; a technique used in perspective to create the illusion of an object receding strongly into the distance or background; affects the proportions of the limbs and the body |
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| Italian term which literally means 'light-dark;’ the use of a contrast of values to create effects of modelling. Modelling is the creation of an effect of weight and mass in an object by the manipulation of value to create highlights and shading |
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| One-point linear perspective |
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| drawing method that shows how things appear to get smaller as they get further away, converging towards a single 'vanishing point' on the horizon line; developed in 15th century Europe, a method of representing three-dimensional objects on a two-dimensional plane |
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| the converging diagonal lines that meet at the vanishing point in the one-point linear perspective system |
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| in one-point linear perspective system, the vanishing point is the place at which all the orthogonals converge |
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| forms nearer the horizon are blurred and their color is less intense and higher in value, while the sky gradually shades from blue toward white above the horizon |
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| brushwork creates sharply defined contours; clear boundaries defined; clarity and precision; interest in detailed description |
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| using large brushstrokes and flecks of paint to define form; edges of figures and features are not defined; forms are dissolved; difficult to interpret all aspects of the piece, unclear representation |
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| figures are arranged in lines parallel to the picture plane; people are orderly arranged on the lines of the floor |
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| diagonal structure; action moves back into space and is not parallel to the picture plane |
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| Absolute Clarity (Renaissance) |
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| every subject is clearly shown, can see the faces of everyone in the painting, everything is detailed |
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| Relative Clarity (Baroque) |
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| obscurity; difficult to determine what is going on, especially in areas of the painting not involving the main subject |
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| there is measurable space in the painting |
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| the space in the painting is not measurable, but is continuous |
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| Multiplicity (Renaissance) |
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| painting is made up of distinct parts, each one sculpturally rounded in its own right, each one clearly filled with its own single, local color, evenly lit |
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| strong directed light breaks up the painting |
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| Altar Head (Benin Kingdom, Nigeria) |
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| The Kiss by Brancusi ("Primitivism" in France) |
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| Fallingwater by Frank Lloyd Wright (American Modernism) |
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| Bauhaus by Gropius (International Style) |
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| Guitar by Picasso (Cubism in France) |
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| Bottle Rack by Duchamp (Proto-Dada in France) |
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| Spiral Jetty by Smithson (American Earthworks) |
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| Running Fence by Christo and Jeanne-Claude (American Environmental Art) |
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| Four Horsemen of the Apocalypse by Dürer (Northern Renaissance) |
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| Adam and Eve by Dürer (Northern Renaissance) |
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| Christ Preaching by Rembrandt (Northern Baroque) |
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| Bwa Masks and Dancers (Bwa ethnic group, Africa) |
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| Mona Lisa by Leonardo Da Vinci (High Italian Renaissance) |
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| Creation of Adam by Michelangelo (High Italian Renaissance) |
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| Conversion of St. Paul by Caravaggio (Italian Baroque) |
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| Judith and Her Maidservant with the Head of Holofernes by Artemisia Gentileschi (Italian Baroque) |
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| Allegory of the Outbreak of War by Rubens (Northern Baroque) |
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| Return of the Prodigal Son by Rembrandt (Northern Baroque) |
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| Unique Forms of Continuity in Space by Boccioni (Italian Futurism) |
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| Rue Transnonain by Daumier (French Realism) |
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| Giving Christ the Keys to St. Peter by Perugino (Italian Renaissance) |
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| The Tribute Money by Masaccio (Italian Renaissance) |
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| The School of Athens by Raphael (High Italian Renaissance) |
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| Triumph in the Name of Jesus by Gaulli and Bernini (Italian Baroque) |
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