ABSTRACT: Non-representational. Forms and colors are arranged without reference to reality.

ABSTRACT EXPRESSIONISM: The first major American Avant-Garde movement, beginning in the 1940s. Expressed the artist’s state of mind and emotions.

CHIAROSCUROThe treatment and use of light and dark to produce the effect of modeling.

SFUMATO“Smoky.” A smokelike haziness that softens the outlines in a painting.

ATMOSPHERIC/AERIAL PERSPECTIVECreating the illusion of distance by variations in color intensity and line definition.

MEDIUM (pl. MEDIA)The material an artist uses to create a work.

LINEAR PERSPECTIVEAll parallel lines converge at one or more vanishing points (also called one-point perspective or multiple-point perspective). Contains a horizon line and multiple orthogonal lines. Creates spatial depth through use of geometry.

COLORIncludes hue, value, and saturation.

HUEHue and color are interchangeable terms.PRIMARY colors are red, yellow, and blueSECONDARY COLORS are the combination of two primary colorsINTERMEDIATE (TERTIARY) COLORS are the combination of a primary color and a secondary color

COLOR THEORY

ADDITIVE COLOR: Color created by mixing colors of light

SUBTRACTIVE COLOR: Color created by mixing colors of pigment

Analogous

Complimentary

Monochromatic

COMPOSITIONThe arrangement of formal elements in a work.

CONTRAPPOSTOThe disposition of the human figure in which one part is turned in opposition to another part (usually hips and legs one way, shoulders and chest another), creating a counterpositioning of the body about its central axis. Sometimes called the “weight shift” because the weight of the body tends to be thrown to one foot, creating tension on one side and relaxation on the other.

CONCEPTUAL ART

An American avant-garde movement of the 1960s whose premise was that the “artfulness” of art lay in the artist’s idea rather than its final expression.

POSTMODERNISM

A reaction against modernist formalism, seen as elitist. Rejects tenets of all previous artforms but often references the past. Questions everything; seeks to destroy knowledge.

PHOTOGRAPHY

1826: The first permanent photograph (Nicéphore Niépce)

1889: Jacques Louis Mandé Daguerre reveals the Daugerrotype, predecessor of the photograph

Portrait of Daugerre

DIVINE PROPORTION / GOLDEN RATIOThe ratio of two quantities is equal to the ratio of their sum to the whole.

BAROQUE

The dominant European style from approximately 1600-1750. Features dramatic lighting and elaborate ornamentation.

TENEBRISMPainting in the “shadowy manner,” using violent contrasts of light and dark.

SPACE1. The literal space a work occupies, as in sculpture.2. Illusionistic space, created on a two-dimensional plane.3. Negative space, intentionally left “empty.”

LINEThe extension of a point along a path, made concrete in art by drawing or chiseling into a plane. May be invisible, drawing the eye through the composition. May be tangible, as in contour lines.

CLAUDE MONET

IMPRESSIONISM: The first “language” of Modern Art. Sought to capture a fleeting moment to express the impermanent nature of life, space, and time.

Self-Portrait with a Beret

JAMES ABBOTT McNEILL WHISTLER

AESTHETICISM: “Art for art’s sake”

TONALISM: An aesthetic approach aimed at creating harmony and elegance. Predecessor of Impressionism.

Music: Symphonies, Nocturnes, etc.

Symphony in White, No. 1: The White Girl

NATURALISMThe core of the Classical tradition. The style of painted or sculptured representation based on close observation of the natural world.

REALISMA movement that emerged in mid-19th-century France. Realist artists represented the subject matter of everyday life in naturalistic style, especially subject matter previously considered inappropriate for artistic depiction.

NEOCLASSICISM

A style of art and architecture that emerged in the late 18th century as part of a revival of interest in classical cultures. Neoclassical artists adopted themes and styles from ancient Greece and Rome.

ROMANTICISM

A Western cultural phenomenon from about 1750 to 1850 (reaching its height in 1800-1840). Gave precedence to feeling and imagination over reason and thought.

TROMPE L’OEILFrench, “the fool’s eye,” A form of illusionistic painting that aims to deceive viewers into believing they are seeing real objects.

ART NOUVEAU

“New art.” Characterized by biomorphic (organic) shapes and a focus on aesthetic harmony.

Austria and Germany: JugendstilSpain: ModernismoItaly: Floreale

Victor Horta: Tassel House, Brussels

POP ART

Term coined by British art critic Richard Alloway to refer to art, first appearing in the 1950s, that incorporated elements from consumer culture, mass media, and popular culture.

READING ASSIGNMENT FOR WEEKS 6 AND 7

How to Look at a PaintingChapter three, Analysing Distortions to the Visible World”

When Art Really WorksReclining Woman with Green Stockings, Egon SchieleWheat Field with Crows, Vincent van GoghThe Man with the Puffy Face, Vincent van GoghBoats in the Harbor at Collioure, André DerainStill Life with Apples, Paul CézanneBathers at Ansières, Georges-Paul SeuratAfter the Bath, Woman Drying Herself, Edgar DegasLes Demoiselles d’Avignon, Pablo PicassoGuernica, Pablo PicassoThe Origin of the Milky Way, Jacopo TintorettoThe Virgin and Child, Masaccio