Midterm Art History AA PDF

+-----------------------------------+-----------------------------------+ | **MODULE 6** | **MINOAN** | | | | | **EVALUATING ARTWORKS** | - - | |...

+-----------------------------------+-----------------------------------+ | **MODULE 6** | **MINOAN** | | | | | **EVALUATING ARTWORKS** | - - | | | | | **TITLE OF THE WOK**- usually | **MYCENAEAN** | | gives insight into the artist's | | | intent or subject matter | - - | | | | | **ARTIST'S NAME**- essential for | \- ***The Mask of Agamemnon:*** | | understanding the context of the | Discovered by | | artwork. Provides artist's | | | personal significance in the art | Heinrich Schliemann at Mycenae, | | world. | this gold | | | | | **MEDUIM AND TECHNIQUES**- the | funerary mask is a stunning | | ***medium*** refers to the | example of | | materials used to create an | | | artwork. ***Techniques*** are | Mycenaean craftsmanship. | | methods the artist used to apply | | | these materials. | **IRON AND BRONZE AGE**- Marked | | | as technological advancements in | | **DIMENTIONS OR MEASUREMENTS**- | art. | | refers to the physical scale' | | | | **CLASSICAL GREEK AND ROMAN ART | | **DATE OF WORK**- tells us when | AND ARCHITECTURE** | | the artwork was created. | | | | - - - | | **PROVENANCE**- refers to the | | | history of ownership of the | **BYZANTINE ART AND | | artwork. Helps in tracing an | ARCHITECTURE** | | artwork's journey from creation | | | to its current location. | - - - - | | | | | **PLANES** | **GOTHIC ART AND ARCHITECTURE** | | | | | **BASIC SEMIOTIC PLANE**- Art as | - - - | | sign, understanding its symbolic | | | elements. | **AUGESTE**- "The main thing is | | | to be moved, to love, to hope, to | | **ICONIC PLANE**- Refers to the | tremble, to live." | | features and qualities of the | | | image. | **PABLO PICASSO**- ""Every child | | | is an artist. The problem is how | | **CONTEXTUAL PLANE**- Examines | to remain an artist once we grow | | the relationship between art and | up." | | societal factors. | | | | | | **EVALUATIVE PLANE**- Analyzing | | | how materials and techniques | | | convey meaning. | | | | | | **THOMAS MERTON**- "Art enables | | | us to find ourselves and lose | | | ourselves at the same time" | | | | | | **JERZY KOSINSKI**- "The | | | principles of true art is not to | | | portray, but to evoke us." | | | | | | **MODULES 7** | | | | | | **PALEOLITHIC ERA (old stone | | | age)-** Early human creativity | | | such as cave paintings and | | | sculptures, ranges from 30,000 | | | BCE- 10,000 BCE. | | | | | | **MESOPOTAMIA ERA**- Sumerian, | | | Babylonian, and Assyrian empires; | | | significant monuments. intricate | | | designs, primarily reflected the | | | cultural and religious beliefs of | | | the time. | | | | | | **EGYPTIAN ART**- Characterized | | | by its distinct style. Renowned | | | for its use of vivid colors, | | | precise lines, and symbolic | | | imagery. Ancient Egyptian art | | | | | | includes the painting, sculpture, | | | architecture, produced by the | | | civilization in the lower Nile | | | Valley from 5000 BCE to 300 CE. | | +===================================+===================================+ | **MODULE 8** | 4. 5. 6. 7. 8. 9. 10. 11. 1 | | | 2. 13. 14. 15. 16. | | **UKIYO-E JAPANESE PRINTS** | | | | **PAUL CEZANNE**- "A work of art | | - - - | which did not begin in emotion is | | | not art." | | \- ***\"The Great Wave off | | | Kanagawa\" by Hokusai (1831)*** | **HENRI MATISSE**- "Creativity | | | takes courage." | | - - | | | | **MODULE 9** | | **EARLY RENAISSANCE (15^th^ | | | Century)** | **NEOCLASSICISM (18^TH^ | | | Century)** | | - - | | | | - - - | | **HIGH RENAISSANCE (16^th^ | | | Century)** | **ROMANTICISM (18^th^ Century to | | | early 19^th^ Century)-** Emphasis | | - - - | on emotions, imaginations, and | | | individual rights. | | **HUMANISIM (14^TH^ Century)**- | | | Man as the center of the | **IMPRESSIONISM (1860s Paris)** | | universe, celebrating human | | | achievements. | - - | | | | | **BAROQUE ART AND ARCHITECTURE** | **POST-IMPRESSIONISM**- | | | Encompasses a wide range of | | - - | distinct artistic styles that all | | | share the common motivation of | | **MANNERISM**- Intellectual and | responding to the optimality of | | expressive styles, dramatic and | the Impressionist movement. | | asymmetrical compositions. | | | | **SYMBOLISM** | | **ROCOCO**- Aristocratic luxury | | | with intricate detailing. | - - | | | | | **RENAISSANCE GENIUSES** | | | | | | 1. 2. 3. | | +-----------------------------------+-----------------------------------+ | **ART NOUVEAU** | **SURREALISM**- Surrealists | | | sought to channel the unconscious | | - - | as a means to unlock the power of | | | the imagination. | | **STELLA ADLER**- "Life beats | | | down and crushes the soul and art | **POP ART** | | reminds you that you have one." | | | | - - | | **HORACE**- "A picture is a poem | | | without words" | **MINIMALISM** | | | | | **MODULE 10** | - - | | | | | **FAUVISM (20^TH^ Century)**- | **CONCEPTUAL ART** | | Intense use of color to express | | | emotions. | - - | | | | | **EXPRESSIONISM**- Encouraging | **PHOTOREALISM** | | the distortion of form and the | | | deployment of strong colors to | - - | | convey a variety of anxieties and | | | yearnings. | **INSTALLATION ART** | | | | | **CUBISM**- Multiple perspectives | - - | | and fragmented forms. | | | | **JAWAHARLAL NEHRU**- "The art of | | **FUTURISM** | a people is | | | | | - - - | a true mirror to their minds." | | | | | **DADAISM**- Anti-art, mockery of | **VICTOR PINCHUK**- "Art, | | materialistic and nationalistic | freedom, and creativity will | | attitudes. | change Society faster than | | | politics." | | **DE STIJL**- Embraced an | | | abstract, pared-down aesthetic | | | centered in basic visual elements | | | such as geometric forms and | | | primary colors. | | | | | | **CONSTRUCTIVISM** | | | | | | - - | | | | | | **ABSTRACT EXPRESSIONISM** | | | | | | - - | | +-----------------------------------+-----------------------------------+