Monday, November 24, 2008

Study Video # 2



To view this at full-size, view this YouTube version...

Friday, November 21, 2008

Knowledge Bowl Study Video One



To view this full-size, use this YouTube version...

Thursday, November 20, 2008

Tuesday's Practice, Role Call

Here are the students who attended practice on Tuesday, November 18, 2008 (first names only, for privacy reasons).

8am practice.

Mallory
Alexandra
Kylee
Tyler
Kelsea
Kristina
Trelynn
Jenna
Ashley
Kayli

2:15pm practice

Fischer
Anthony
Nathan
Trevor
Sheridan
Thomas
Katie
Jayde
Kate
Aubrey
Autumn
Christian
Mariah
Isaac
Jeffrey

Examples of Naturalism, Romanticism, Pointillism


Example of Abstract Expressionism, Neo-Impressionism, Impressionism, and Primitive Work


Example of Unity


Examples of Proportion


Examples of Movement, Pattern, Motif


Examples of Contrast and Focal Point


Examples of Assymetrical and Symmetrical Visual Art


Study Guide - A track, By Lisa Gibby

VISUAL ARTS (PART 2)
Principles of design:
1. Balance – refers to the way the elements of art are arranged to create a feeling of stability in a work; a pleasing or harmonious arrangement or proportion of parts or areas in a design or composition. Portions of a composition can be described as taking on a measureable weight or dominance, and can then be arranged in such a way that they appear to be either in or out of balance, or to have one kind of balance or another. Balance can be symmetrical, or formal; or it can be asymmetrical, or informal.
a. Symmetric balance occurs when the two sides are identical — they reflect each other: Latin syn meaning same is joined to metric meaning measure.
b. Asymmetric balance is different: the Latin prefix a- means not, so asymmetry lacks balance; it is off-kilter

2. emphasis - Any forcefulness that gives importance or dominance (weight) to some feature or features of an artwork; something singled out, stressed, or drawn attention to by means of contrast, anomaly, or counterpoint for aesthetic impact. A way of combining elements to stress the differences between those elements and to create one or more centers of interest in a work. Often, emphasized elements are used to direct and focus attention on the most important parts of a composition — its focal point.

contrast - A large difference between two things; for example, hot and cold, green and red, light and shadow. Closely related to emphasis, a principle of design, this term refers to a way of juxtaposing elements of art to stress the differences between them. Thus, a painting might have bright color which contrast with dark colors, or angular shapes which contrast with curvaceous shapes. Used in this way, contrast can excite, emphasize and direct attention to points of interest

focal point - The portion of an artwork's composition on which interest or attention centers. The focal point may be most interesting for any of several reasons: it may be given formal emphasis; its meaning may be controversial, incongruous, or otherwise compelling.


3. Movement: The act or process of moving, especially change of place or position, an effort. This can either be actual motion or it can be implied — the arrangement of the parts of an image to create a sense of motion by using lines, shapes, forms, and textures that cause the eye to move over the work. A principle of design, it can be a way of combining elements of art to produce the look of action. In a painting or photograph, for instance, movement refers to a representation or suggestion of motion. In sculpture too, movement can refer to implied motion. On the other hand, mobiles and kinetic sculptures are capable

4. Rhythm: A visual tempo or beat. The principle of design that refers to a regular repetition of elements of art to produce the look and feel of movement. It is often achieved through the careful placement of repeated components which invite the viewer's eye to jump rapidly or glide smoothly from one to the next.
a. repetition - Closely related to harmony, a principle of design, this term refers to a way of combining elements of art so that the same elements are used over and over again. Thus, a certain color or shape might be used several times in the same picture. Repetition also can contribute to movement and rhythm in a work of art.
b. regular rhythms - The background design behind this text has a regular rhythm. (In the following examples, let the letters A, B, etc. stand for visual elements of any sort)
AB-AB-AB is the most common type. Picture alternating stripes of two colors, for instance. (In English prosody, a student of poetry might read this as either "iambs" or "trochees". An iamb is a metrical foot consisting of two syllables, the first syllable accented, the second accented, as in AB-AB-AB. It becomes trochaic meter if the accenting is reversed, as in AB-AB-AB.)
c. Irregular rhythms – don’t follow the patterns of regular rhythms.

5. Pattern P- The repetition of any thing — shapes, lines, or colors — also called a motif, in a design.

a. motif - A consistent or recurrent conceptual element, usually a figure or design. In an architectural or decorative pattern, a motif is employed as the central element in a work, or it is repeated either consistently or as a theme with variations

b. wave -
6. proportion - refers to the comparative, proper, or harmonious relationship of one part to another or to the whole with respect to size, quantity, or degree; a ratio.Proportion came to English in the Latin word proportionem, meaning comparative relation

Batsford London, 1916.
a. Size - the physical dimensions, proportions, magnitude, or extent of an object. Size is one of the perspective tools an artist can use to create an illusion of depth on a two-dimensional surface, in that the nearer an object is the larger it appears to be, and the farther it is the smaller it appears to be.
b. scale - A ratio (proportion) used in determining the dimensional relationship between a representation to that which it represents (its actual size), as in maps, architectural plans, and models. This is often expressed numerically as two quantities separated by a colon (:). For example, a scale noted as .measurement [inches, feet, meters, etc.] here represents fifty of the same units at full size." A size equal to actual size is full-scale. Sometimes scale is called "proper proportion."

7. Unity: The quality of wholeness or oneness that is achieved through the effective use of the elements and principles of design. Unity is largely synonymous with coherence.
a. clustering –
b. proximity -
c. dominant color- The part of a composition that is emphasized, has the greatest visual weight, the most important, powerful, or has the most influence. A certain color can be dominant, and so can an object, line, shape, or texture.
d. contour - The outline and other visible edges of a mass, figure or object.

8. variety - A principle of design that refers to a way of combining elements of art in involved ways to achieve intricate and complex relationships. Variety is often obtained through the use of diversity and change by artists who wish to increase the visual interest of their work. An artwork which makes use of many different hues, values, lines, textures, and shapes would reflect the artist's desire for variety.
a. Monotony - Monotony is the state or quality of unpleasantly lacking variety
b. Diversity – not the same, variety

9. Harmony -- Agreement; accord. A union or blend of aesthetically compatible components. A composition is harmonious when the interrelationships between its parts fulfill aesthetic requisites or are mutually beneficial. As a principle of design, harmony refers to a way of combining elements of art to accent their similarities and bind the picture parts into a whole. It is often achieved through the use of repetition and simplicity.
a. æsthetics - The branch of philosophy that deals with the nature and value of art objects and experiences. It is concerned with identifying the clues within works that can be used to understand, judge, and defend judgments about those works.

10. Contrast - A large difference between two things; for example, hot and cold, green and red, light and shadow. Closely related to emphasis. A painting might have bright color which contrast with dark colors, or angular shapes which contrast with curvaceous shapes. Used in this way, contrast can excite, emphasize and direct attention to points of interest.
A. Color
B. Intensity
C. Textural
D. Pattern
E. Size

ART MOVEMENTS
Abstract Expressionism - A painting movement in which artists typically applied paint rapidly, and with force to their huge canvases in an effort to show feelings and emotions, painting gesturally, non-geometrically, sometimes applying paint with large brushes, sometimes dripping or even throwing it onto canvas. Their work is characterized by a strong dependence on what appears to be accident and chance, but which is actually highly planned. Some Abstract Expressionist artists were concerned with adopting a peaceful and mystical approach to a purely abstract image. Usually there was no effort to represent subject matter. Not all work was abstract, nor was all work expressive, but it was generally believed that the spontaneity of the artists' approach to their work would draw from and release the creativity of their unconscious minds. The expressive method of painting was often considered as important as the painting itself.

Baroque- The art style or art movement of the Counter-Reformation in the seventeenth century. Although some features appear in Dutch art, the Baroque style was limited mainly to Catholic countries. It is a style in which painters, sculptors, and architects sought emotion, movement, and variety in their works


Rembrandt van Rijn, 1606-1669. Dutch. Baroque. Portraits and religious scenes. Considered the master of Dutch art. The Man with the Golden Helmet and The Night Watch
Jan Vermeer, 1632-1675 Dutch. Dutch Baroque. Painted small very detailed pictures of daily life. The Lacemaker and The Letter.

Cubism - One of the most influential art movements (1907-1914) of the twentieth century, Cubism was begun by Pablo Picasso (Spanish, 1882-1973) and Georges Braque (French, 1882-1963) in 1907. They were greatly inspired by African sculpture, by painters Paul Cézanne (French, 1839-1906) and Georges Seurat (French, 1859-1891), and by the Fauves.

In Cubism the subject matter is broken up, analyzed, and reassembled in an abstracted form.

Picasso and Braque initiated the movement when they followed the advice of Paul Cézanne, who in 1904 said artists should treat nature "in terms of the cylinder, the sphere and the cone."

Pablo Picasso, 1881-1973. Spanish. Cubism. Used many different styles. Guernica, The Aficionado, and Enamel Saucepan.

Impressionism- An art movement and style of painting that started in France during the 1860s. Impressionist artists tried to paint candid glimpses of their subjects showing the effects of sunlight on things at different times of day. The leaders of this movement were: Camille Pissarro (French, 1830-1903), Edgar Degas (French, 1834-1917), Claude Monet (French, 1840-1926), and Pierre Renoir (French, 1841-1919). Some of the early work of Paul Cézanne (French, 1839-1906) fits into this style, though his later work so transcends it that it belongs to another movement known as Post-Impressionism.

Mary Cassatt, 1845-1926. American. Impressionism. Amily scenes, especially mothers and children. The Bath

Claude Money, 11840-1926. French. Impressionism. Used light, shadow, and colors effectively. Boats at Argenteuil

Berthe Borisot, 1841-1895. French. Impressionism. The Cradle

Neo-impressionism - A movement in painting which was an outgrowth of and reaction to Impressionism. It was originated by Georges-Pierre Seurat (French, 1859-1891), who employed a technique called pointillism (also called divisionism, or confettiism), based on the scientific juxtaposition of touches or dots of pure color. His most famous painting is A Sunday on La Grande Jatte, 1884, 1884-1886, oil paint on canvas, in the collection of the Art Institute of Chicago). The brain blends the colors automatically in the involuntary process of optical mixing. Georges Seurat, 1859-1891. French. Post Impressionism and Neo-Impressionism. Used dots of six basic colors to create his pictures (pointillism). A Sunday Afternoon on the Island of la Grande Jatte.


Op Art - A twentieth century art movement and style in which artists sought to create an impression of movement on the picture surface by means of optical illusion. It is derived from, and is also known as Optical Art and Perceptual Abstraction. In the 1960s art world, some critics faulted Op Art's persistent involvement with optical illusion at a time when "the flatness of the picture plane" was the mantra on either side of the Color Field - Minimalist aisle. Clement Greenberg saw flatness as painting's essence. Donald Judd saw it as an escape route into three dimensions.


Pop Art - An art movement and style that had its origins in England in the 1950s and made its way to the United States during the 1960s. Pop artists have focused attention upon familiar images of the popular culture such as billboards, comic strips, magazine advertisements, and supermarket products.

Realism -The realistic and natural representation of people, places, and/or things in a work of art. The opposite of idealization. One of the common themes of postmodernism is that this popular notion of an unmediated presentation is not possible. This sense of realism is sometimes considered synonymous with naturalism.

George Bellows, 1882-1925. American. Realism. Action-filled paintings of prize fights. Member of the Ash Can School. Dempsey and Firpo.

William Harnett, 1848-1892. American. Realism. Still-life with remarkable detail. My Gems

Winslow Homer, 1826-1910. American. American Realism. Outdoor scenes with much
movement. Snap the Whip and Breezing Up.

Jean Francois Millet, 1814-1875. French. Realism. Scenes of rural life. Member of Barbizon School. The Gleaners

George M. Ottinger, 183-1917. American Romantic Realism. Immigrant Train

Frederic Remington, 1861-1909. American. Realism. Action-filled paintings of the American West. The Scout: Friends or Enemies

Mahonri Young, 1877-1957. American. Social Realism – Factory Worker


Romanticism - An art movement and style that flourished in the early nineteenth century. It emphasized the emotions painted in a bold, dramatic manner. Romantic artists rejected the cool reasoning of classicism — the established art of the times — to paint pictures of nature in its untamed state, or other exotic settings filled with dramatic action, often with an emphasis on the past. Classicism was nostalgic too, but Romantics were more emotional, usually melancholic, even melodramatically tragic.

Joseph M.W. Turner, 1775-1851. English. Romanticism. Painted landscapes with brilliant glow and pure colors. Rockets and Blue Light

Symbolism - An art movement which rejected the purely visual realism of the Impressionists, and the rationality of the Industrial Age, in order to depict the symbols of ideas. Influenced by Romanticism and the Pre-Raphaelite Brotherhood, it thrived in France in the late nineteenth century, its influence spreading throughout much of Europe. Rather than the precise equivalents of ideas or emotions, its symbols were meant to be more mysterious, ambiguous suggestions of meanings.

Art Styles:
1. Impressionism: Impressionist artists tried to paint candid glimpses of their subjects showing the effects of sunlight on things at different times of day
Example: Camille Pissarro, The Beet Harvest, 1881, gouache over graphite, on linen mounted on wove paper, 10 1/8 x 14 7/8 inches, Minneapolis Institute of Arts.
2. Primitive: Early or undeveloped; simple. Caution: what one person interprets as primitive is likely to be interpreted by some as sophisticated in other ways. Such things are relative. Some prefer the term "primal." Primitive should not be confused with naive, folk, or outsider art, although some artists have intentionally made art so that it will display qualities of primitive art.
3. Naturalism - A style in which an artist intends to represent a subject as it appears in the natural world — precisely and objectivly — as opposed to being represented in a stylized or intellectually manipulated manner. Although naturalism is often used interchangeably with the term realism, there is a difference between them.
4. Romanticism: It emphasized the emotions painted in a bold, dramatic manner. Romantic artists rejected the cool reasoning of classicism — the established art of the times — to paint pictures of nature in its untamed state, or other exotic settings filled with dramatic action, often with an emphasis on the past.

Art Careers:
1. Architect: a person who designs and draws plans, elevations, and cross-sections of buildings and other environmental features. Many architects produce models, collaborate with engineers, construction personnel, and other artists.

2. Art Buyer: The person who is a link between an agency and freelance artists; buys work for the agency.

3. Art Critic: a person who describes, analyzes, interprets, evaluates, and expresses judgments of the merits, faults and value of artworks. One who produces art criticism.

4. Artist: One who makes art.

5. Art Educator: Someone who imparts knowledge, skills, or wisdom in the arts to others; assesses and praises achievement.

6. Landscape Architect: The decorative and functional modification and planting of grounds, especially at or around a building site.

7. Sculptor: One who produces sculptures. Tanagra sculptors were called "coraplasters" (in Greek, cora is a girl, plastein means to sculpt), as they were particularly drawn to representing women. Nearly all of the earlier figurines represented deities. Another archaic synonym for sculptor is statuary.

Methods of Painting:
1. Pointillism: A method of painting developed in France in the 1880s in which tiny dots of color are applied to the canvas. When viewed from a distance, the points of color appear to blend together to make other colors and to form shapes and outlines. Georges Seurat (French, 1859-1891) was its leading exponent. His most famous painting is A Sunday Afternoon on the Island of La Grande Jatte (Un dimanche après-midi à l'Ile de la Grande Jatte), 1884-1886, oil on canvas, 81 x 120 inches, Art Institute of Chicago. Occasionally used synonyms for pointillism have been "divisionism" and "confetti-ism." See other examples at Neo-Impressionism.

2. Feathering: In drawing and painting, to feather is to blend an edge so that it fades off or softens. To feather is also to overlap values and colors in the manner of the overlapping feathers of a bird.



3. Divisionism: A system of painting in small dots of color placed in relation to each other based on certain color theories.

Art Tools
1. Brush: A tool used to apply paints and inks to a surface, consisting of hairs, or bristles held in place by a ferrule attached to a handle. The hair may be from any of several sources, some of which are badger, ox, fitch, squirrel (called "camel hair"), and synthetics, though perhaps the finest is red sable. Bristles are usually from hogs, bristle brushes having a characteristic taper, or curve. Brushes for acrylic and polymer paints generally have nylon bristles compatible with those paints.

2. Brayer: A tool used to roll ink onto a surface by hand, usually in block printing and in monoprinting.



3. Easel: A tool allowing the stable support and display of a painter's canvas or panel. Sturdier easels typically involve a blocky and heavy structure, while portable easels are light-weight and three-legged. Most contemporary easels can be folded for storage.

4. Eraser: A tool used in the erasure of parts of drawings. Graphite pencil drawings are erased with any of several types of rubber. (It was after this use that the substance called rubber received its name.) Lighter parts of charcoal drawings can be erased with either a kneaded eraser (also called putty rubber) or a kneaded piece of fresh bread. Wax crayons and lithographic crayons cannot be erased unless they are on non-absorbent surfaces.

5. Camera: In photography, a tool for producing photographs, having a lightproof enclosure with an aperture and a shuttered lens through which the image of an object is focused and recorded on a photosensitive film or plate.

In video, a device that receives the primary image on a light-sensitive cathode tube and transforms it into electrical impulses.

6. Chisel: A cutting tool consisting of a metal shaft beveled at one end to form the cutting edge. A chisel is specially designed for cutting a particular materialwood, metal or stone.

7. Hammer:

bush hammer - A steel stone-carving tool, often with a large, brick-like head, having two striking ends, each covered with rows of pyramidal metal points. Found in several sizes, some with a longer, thinner head. Bush hammers are used to dress the surface of stone by breaking down the rock surface, pounding and removing small amounts at a time. The textures achieved are typical among finish in traditional French masonry. Granite and other igneous rock is worked with a bush hammer, although now it is usually an electrically motorized version. Also called by its French name, "bouchard" or "boucharde."
ballpein hammer - A hammer which has one side of the head flattened for striking, and the other rounded for flattening rivets or forming a dome.


claw hammer - The head of a claw hammer has a flat striking face on one side and two heavy metal prongs on the other used to trap and lever out nail heads.

8. Kiln: A special oven or furnace that can reach very high temperatures and is used to bake, or fire clay. Kilns may be electric, gas, or wood-fired. The one pictured here is an electric model.

9. Palette: A slab of wood, metal, marble, ceramic, plastic, glass, or paper, sometimes with a hole for the thumb, which an artist can hold while painting and on which the artist mixes paint. Anything from ice trays to disposable paper or Styrofoam plates might be used as a palette. A pane of glass with a white piece of paper attached to its underside makes a fine palette. It's especially versatile because the color of the paper back can be made to match a painting's ground, making colors easier to choose.

10. Potter’s Wheel: A revolving horizontal disk, sometimes called a head, on which clay is shaped manually into pottery vessels. The simplest form of wheel is the kickwheel. To operate it, the potter kicks or propells some form of disk, crank, or treddle in order to keep the turntable spinning. Also commonly used today are power-driven wheels whose speed can be regulated by the potter as he or she works. The potter's wheel was probably invented either by the Sumerians of the Tigris-Euphrates Basin or by the Chinese around 5000 BCE, perhaps even before the use of wheels for transportation. Potter's wheels continue to be used today, though commercial ceramic manufacture is dominated by slip casting. Nevertheless, they are part of the basic equipment of the artist-potter. Kits of kickwheel parts can be purchased for as little as $200.

11. Scissors: A hand-held cutting tool made up of two crossed and connected blades whose (inner) cutting edges slide past each other as they pivot to open and close. Each blade is extended from a ring-shaped handle (called bows) through which a user inserts opposing fingers. Scissors are commonly employed to cut such thin materials as string, hair, fabric, paper and sheets of other kinds, such as cellophane, foil, etc. "Scissors" can be used either as a singular or as a plural word, and is often referred to as a pair of.

Please see separate posts for art examples.

Wednesday, November 19, 2008

Fresco. Example.



Michelangelo Buonarroti (Italian, 1475-1564)


Italian. Renaissance.

His paintings and sculptures are noted for their accuracy, strength, reality, and expressiveness.


The Delphic Sybil

Still Life or Still-lilfe - example


Seascape - example



Claude Monet
1840-1926
French. Impressionism.
Used light, shadow, and colors effectively.

Boats at Argenteuil

Landscape - example



Artist Pieter Bruegel the Elder (Netherlandish, active by 1551, died 1569).

Northern Renaissance.

Humorous scenes of daily life and landscapes.


TitleThe Harvesters


Date 1565


Medium Oil on wood

Portrait. Type - Bust


Danese Cattaneo (1509 - 1572) Bust of a Jurist, 1540bronze on base27 3/8 in. (69.53 cm)

By Danese Cattaneo (Italian, c.1509-1572),

Portraits. Type - Statue




The first one is Paul Revere, the second is Massasoit, the third is Sacajawea. They were all created by the same artist....

Cyrus Edwin Dallin (November 22, 1861 - November 14, 1944) was an American sculptor and Olympic archer. American. Portrait Statues and statues of Native Americans.



Mona Lisa, Portrait Example



Leonardo da Vinci (Leonardo di ser Piero da Vinci) (Italian, 1452-1519), Mona Lisa (La Joconde) (1479 - d. before 1550), c. 1503-1506, oil on wood panel, 77 x 53 cm, Louvre. This most famous of paintings is important for many reasons, not least of which is the subject's mysterious expression. Contibuting to this effect is Leonardo use of sfumato, which seems to suggest that we are observing this face as its expression is changing. This portrait also presents early examples of aerial perspective and landscape painting. See Renaissance.

Historic Mosaic


Historic Mosaic: Emperor Justinian I of the Basilica of San Vitale, Ravenna

Knowledge Bowl '09 Study Guide # 2 - definitions of visual art

These definitions of various Art Techniques are found at ArtLex.com.


Painting - Works of art made with paint on a surface. Often the surface, also called a support, is either a tightly stretched piece of canvas or a panel. How the ground (on which paint is applied) is prepared on the support depends greatly on the type of paint to be used. Paintings are usually intended to be placed in frames, and exhibited on walls, but there have been plenty of exceptions. Also, the act of painting, which may involve a wide range of techniques and materials, along with the artist's other concerns which effect the content of a work.



Drawing - Depiction of shapes and forms on a surface chiefly by means of lines. Color and shading may be included. A major fine art technique in itself, drawing is the basis of all pictorial representation, and an early step in most art activities. Though an integral part of most painting, drawing is generally differentiated from painting by the dominance of line over mass.
The artist's choices of drawing media — tools and surface — tend to determine whether a drawing will be more or less linear or painterly in quality.
There are many sorts of drawing techniques, varying according to the effect the artist wants, and depending on whether the drawing is an end in itself — an independent and finished work of art -- or a preliminary to some other medium or form — although distinct from the final product, such drawings also have intrinsic artistic value. Preliminary drawings include various exercises (e.g., contour drawing, gesture drawing, figure drawing, drawing from the flat), as well as sketches and studies, cartoons and underdrawings.

Sculpture - A three-dimensional work of art, or the art of making it. Such works may be carved, modeled, constructed, or cast. Sculptures can also be described as assemblage, in the round, and relief, and made in a huge variety of media.




Photography - The art, craft, and science of producing permanent images of objects on light-sensitive surfaces.


Louis Daguerre (French, 1787-1851) developed the first permanent photographic images in 1839, having continued the pioneering work of Joseph Niepce. Daguerre's process is called the daguerreotype.



Mosaic - A picture or design made of tiny pieces (called tesserae) of colored stone, glass, tile or paper adhered to a surface. It is typically decorative work for walls, vaults, ceilings or floors, the tesserae set in plaster or concrete.

This technique was used by the Romans in regularly shaped pieces of marble in its natural colors to decorate their villas. It was later adopted by Byzantine artists using pieces of glass with irregular surfaces to tell the Christian story on the walls of their churches.


Mosaics are among the ten classes of patterns.


(pr. mo-zay'ic)


See separate post for example of a Historic Mosaic: Emperor Justinian I



Printmaking - A print is a shape or mark made from a block or plate or other object that is covered with wet color (usually ink) and then pressed onto a flat surface, such as paper or textile. Most prints can be produced over and over again by re-inking the printing block or plate. Printmaking can be done in many ways, including using an engraved block or stone, transfer paper, or a film negative. The making of fine prints is generally included in the graphic arts, while the work of artists whose designs are made to satisfy the needs of more commercial clients are included in graphic design.

The following are forms of printmaking...


  1. Etching - An intaglio printing process in which an etching needle is used to draw into a wax ground applied over a metal plate. The plate is then submerged in a series of acid baths, each biting into the metal surface only where unprotected by the ground. The ground is removed, ink is forced into the etched depressions, the unetched surfaces wiped, and an impression is printed. Also, both the design etched on a plate and an impression made from an etched plate. Too often confused with engraving.


  2. Silkscreen or silk-screen - A stencil process of printmaking in which an image is imposed on a screen of silk or other fine mesh, with blank areas coated with an impermeable substance, and ink is forced through the mesh onto the printing surface. Also called serigraphy and screen-printing. Andy Warhol and Robert Raushenberg used silkscreens as a means of applying paint to canvases. Also, a print made by this method, sometimes called a screenprint.

  3. Lithography - In the graphic arts, a method of printing from a prepared flat stone or metal or plastic plate, invented in the late eighteenth century. A drawing is made on the stone or plate with a greasy crayon or tusche, and then washed with water. When ink is applied it sticks to the greasy drawing but runs off (or is resisted by) the wet surface allowing a print — a lithograph — to be made of the drawing. The artist, or other print maker under the artist's supervision, then covers the plate with a sheet of paper and runs both through a press under light pressure. For color lithography separate drawings are made for each color. (pr. le-thah'gruh-fee)


  4. Woodcut - A print made by cutting a design in side-grain of a block of wood, also called a woodblock print. The ink is transferred from the raised surfaces to paper.

Collage - A picture or design created by adhering such basically flat elements as newspaper, wallpaper, printed text and illustrations, photographs, cloth, string, etc., to a flat surface, when the result becomes three-dimensional, and might also be called a relief sculpture / construction / assemblage. Most of the elements adhered in producing most collages are "found" materials. Introduced by the Cubist artists, this process was widely used by artists who followed, and is a familiar technique in contemporary art.




"Collage" was originally a French word, derived from the word coller, meaning "to paste."



(pr. kuhl-lahzh')


For an example of collage, see the post with ...Romare Bearden, 1911-1988, American. Modern. collage. "Summertime"


Montage - A single pictorial composition made by juxtaposing or overlapping many pictures or designs. The art or process of making such a composition. Also, a rapid succession of different images or shots in a movie.


(pr. mahn-TAHZH)


Basketry, and basketwork - A basket is a woven container made of such tough and bendable materials as twigs or strips (veneer) of wood, cane, rattan, reed, rush, wire, or plastic, often with a handle or handles; or something that resembles a basket, especially in shape or function.


Baskets are usually light in weight. Among the most commonly used basketry techniques are plaiting, twining, coiling, and imbrication. Basketry is the art or craft of making baskets, or objects woven like baskets, and is one of the oldest and most universal of crafts, practised among even the most primitive of peoples. It may be that basketry preceded the development of both textiles and fired pottery. Many baskets produced in Europe have, by long tradition, been produced using the rod-like twigs, harvested from willow trees (osier). Much furniture employing basketry techniques has been made using cane, rattan and rush.


Ceramics or ceramic ware - Pottery or hollow clay sculpture fired at high temperatures in a kiln or oven to make them harder and stronger. Types include earthenware, porcelain, stoneware, and terra cotta. The following are examples, along with their definitions.



  1. pottery - Objects, and especially vessels — pots, which are made from fired clay, including earthenware, stoneware and porcelain. Pots are functional ceramic objects, and may take such forms as plates, bowls, cups, jars, vases, urns, ewers (pitchers), bottles, and boxes. A pottery can also be a place where pots are made.


  2. Porcelain - A hard, white, translucent, impervious, resonant ceramic body, also known as china, invented in China between 600 and 900 CE. This clay is primarily made of kaolin, a fine white clay. Also, an object made of porcelain; and sometimes any pottery that is translucent, whether or not it is made of kaolin. Porcelain is regarded as the most refined of all ceramic wares.

Genre and genres - Genre painting is the depiction of subjects and scenes from everyday life, ordinary folk and common activities. It achieved its greatest popularity in seventeenth century Holland (the Netherlands) with the works of Jan Steen (1626-1679) and Jan Vermeer (1632-1675).


When used in the plural form, genres are the various categories of subject matter in the traditional academic hierarchy, in descending order of importance: history, megalography, mythology, religion, portraiture, genre (see the first sense above), landscape, still life, rhopography, and vernacular.


(pr. jahn're)


Examples of genre follow.




  1. Portrait (or portraiture) - A work of art that represents a specific person, a group of people, or an animal. Portraits usually show what a person looks like as well as revealing something about the subject's personality. Portraits can be made of any sculptural material or in any two-dimensional medium. Portraiture is the field of portrait making and portraits in general. Portrait is a term that may also refer simply to a vertically oriented rectangle, just as a horizontally oriented one may be said to be oriented the landscape way. (see separate post of the Mona Lisa for example of Portrait, and separate post with Sacajawea statue and separate post for Bust of a Jurist)


  2. Landscape - A painting, photograph or other work of art which depicts scenery such as mountains, valleys, trees, rivers and forests. There is invariably some sky in the scene. (see the separate post for the example of a landscape - The Harvesters)


  3. Seascape - A picture of a scene at sea or a scene prominently including a portion of the sea. (for an example, see separate post, "Boats at Argenteuil")


  4. Still life or still-life - A picture of inanimate objects. Common still life subjects include vessels, food, flowers, books, clothing.
    This genre flourished particularly among Dutch painters of the seventeenth century, and the term itself originated in the Dutch language as "" and "". Jean Chardin (French, 1699-1769) is the most universally admired painter of still lifes. Chardin painted many pictures of everyday items, including kettles, vegetables, and earthenware vessels, with superb modeling of color, light, and texture.
    The plural form is "still lifes." (for example, see separate post, "The Luncheon of the Boating Party")

  5. Cartoon - A kind of drawing done to get people thinking, angry, laughing, or otherwise amused, often accompanied by a caption. A cartoon usually has simple lines, uses basic colors, and tells a story in one or a series of pictures called frames or panels.

Medium (plural is media)- The material or technique used by an artist to produce a work of art. Medium can also refer to what carries a paint's pigments, and is also called a vehicle or a base. The medium is what determines what kind of paint is produced. A painter can mix a medium with its solvents, pigments and other substances in order to make paint and control its consistency. A variety of mediums are available that provide a matte, semi-gloss, or glossy finish.



  1. oil paint - Slow drying paint made when pigments are mixed with an oil, linseed oil being most traditional. The oil dries with a hard film, and the brightness of the colors is protected. Oil paints are usually opaque and traditionally used on canvas. They can have a matte, semi-gloss, or glossy finish.

  2. Watercolor or watercolour - Any paint that uses water as a solvent. Paintings done with this medium are known as watercolors. What carries the pigment in watercolor (called its medium, vehicle, or base) is gum arabic. An exception to this rule is water miscible oil paints, which employ water as their solvent, but are actually oil paints.
    When made opaque with white, watercolor is generally called gouache or bodycolor. Tempera is another exception.
    Colors are usually applied and spread with brushes, but other tools can also used. The most common techniques for applying watercolor are called wet-on-dry and wet-on-wet, along with the dry brush techniques dry-on-dry and dry-on-wet. Colors can be removed while still wet, to various degrees by blotting.
    Most watercolor painting is done on paper, but other absorbent grounds can also be employed. The papers most favored by those who paint with watercolor is white, very thick, with high rag content, and has some tooth.

  3. Tempera and temper - A paint and process involving an emulsion of oil and water. It was in use before the invention of oil paints. Traditionally it involves an egg emulsion; thus the term egg tempera. The pigments or colors are mixed with an emulsion of egg yolks (removed from their sacs) or of size, rather than oil, and can be thinned and solved with water. Also known as egg tempera and temper. A varnish for tempera paints, called glair may be prepared by mixing egg whites with a little water, then beating them, and applying once the bubbles are gone.

  4. Ink - Liquid or paste media containing pigment(s) and used for writing, pen and brush drawing, and printing. Writing inks, even blacks, are rarely sufficiently permanent to be used for art purposes. Black drawing ink, known as India ink in the United States, is especially made for use in permanent works. When it dries it is water resistant, enabling it to be gone over with a wash or watercolor. Also available is a water-soluble drawing ink; though otherwise permanent, it is capable of being washed away with water, and may be preferred to water-resistant ink for certain work. Chinese ink is similar to India ink, although various minor ingredients are added to enhance its brilliancy, range of tone, and working qualities. Most colored drawing inks are not permanent; those made with permanent pigments are usually labeled with names of pigment ingredients rather than the names of hues. Printing ink is actually more closely related to paints than to the pen and brush inks.

  5. Pastel - Pigments mixed with gum and water, and pressed into a dried stick form for use as crayons. Works of art done with such pigments are also called pastels.
    Chalk is similar to pastel, but more tightly bound.
    A picture made with pastels may be called either a drawing or a painting. The principal reason to call it one or the other has nothing to do with whether it has ever been wet. It has entirely to do with whether the resulting image is more linear or more painterly — showing shapes or forms created with patches of color, exploiting color and tonal relationships.
    The term "pastel" has been used by some to mean tints or pale colors — soft colors, lightened with white — having little saturation and great lightness. (Brilliant colors, although they too are very light in value, are strongly saturated.) Pastel was first used in this sense by American fashion writers in 1899. The use of "pastel" in this sense might be understood in context, but art writers are generally wise to avoid using it in order to avoid confusing their readers.

  6. crayon - Traditionally, any drawing material made in stick form, including chalk, pastel, conté crayons, charcoal, lithographic and other grease crayons, as well as wax crayons. To children, the term invariably refers to these last sticks of color made of paraffin, and marketed under various trade names, available in several sizes and shapes, either water-soluble or not, usually in a paper wrapper.
    (pr. KRAY-ahn or KRA-ən)

  7. clay - Mud; moist, sticky dirt. In ceramics, clay is the basic material, usually referring to any of a certain variety of mixtures of such ingredients — fine-grained, firm earthy material that is plastic when wet, brittle when dry, and very hard when heated. There is a temperature with ceramic clays at which their particles fuse (vitrification), and this is most commonly controlled by heating (firing) them in a kiln. The most common types of ceramic clays are earthenware (terra cotta when fired, terra cruda when not), stonewares, and porcelain. Also, a hardening or nonhardening material having a consistency similar to clay, often called modeling clay or Plasticine, and others including polymer clay.

  8. Marble - A type of stone traditionally used in sculpture and architecture. A metamorphic rock (metamorphosed calcite or dolomite), finely grained, dense, with a nondirectional structure, capable of taking a high polish, and often irregularly veined and colored by impurities. White marble has been quarried in Greece, Italy, Turkey, India, China, and the USA. Among the most renowned sources has been the quarries of Carrara in the Apuan Alps of Italy. Confusingly, the name marble is sometimes used to refer to any stone that takes a polish, although such stones may include alabasters, granites, and serpentines, as well as true marbles.
    Mottling or streaking that resembles the veined texture of marble is called marbling.

  9. Fresco - A method of painting on plaster, either dry (dry fresco or fresco secco) or wet (wet or true fresco). In the latter method, pigments are applied to thin layers of wet plaster so that they will be absorbed and the painting becomes part of the wall. (see separate post for example, "The Delphic Sybil")


Folk/Fairy Tale

Beauty and the Beast (French: La Belle et la Bête) is a traditional fairy tale. The first published version of the fairy tale was published in 1740.
Variants of the tale are known across Europe. In France, for example, Zémire et Azor is an operatic version of the story of Beauty and the Beast written by Marmontel and composed by Grétry in 1771.
Amour pour amour, by Nivelle de la Chaussée, is a 1742 play based on Villeneuve's version.
Plot summary
A rich merchant lived in a city with his three daughters, of whom the youngest is named Belle (French for "Beautiful") for being lovely and pure of heart and her middle name is Vinu. The merchant eventually loses all of his wealth, and he and his daughters must therefore live in the rural areas outside of the city. After some years of this, he hears that one of the trade ships sent by himself had arrived in port, having escaped the destruction of its compatriots; therefore he returns to the city to discover whether it contains anything of monetary value. Before leaving, he asks his daughters whether they desire that he bring them any gift upon his return. His two oldest daughters ask for jewelry and dresses, thinking that his wealth has returned; Belle is satisfied with the promise of a rose, as none grow in their part of the country. The merchant finds that his ship's cargo has been seized to pay his debts, leaving him without money by which to buy his daughters their presents.
During his return, he becomes lost in a forest. Seeking shelter, he enters a castle. He finds inside tables laden with food and drink, which have apparently been left for him by the castle's owner. The merchant accepts this gift and is about to leave when he sees a rose garden and recalls that Belle had desired a rose. Upon picking the most lovely rose he finds, the merchant is confronted by a hideous 'Beast', which tells him that for taking his (the Beast's) most precious possession after accepting his hospitality, the merchant must stay his prisoner forever. The merchant begs to be set free, arguing that he had only picked the rose as a gift for his youngest daughter. The Beast agrees to let him go only if the merchant will send his daughter to live in the castle in his place.
The merchant is upset, but accepts this condition. He tries, upon arriving home, to hide the secret from Belle; but she pries it from him and willingly goes to the Beast's castle. The Beast receives her graciously and treats her as his guest. He gives her lavish clothing and food and carries on lengthy conversations with her.
Eventually, Belle becomes homesick and begs the Beast to allow her to go to see her family. He allows it, if she will return exactly a week later. Belle agrees to this and sets off for home. Her older sisters are surprised to find her well fed and dressed in finery.
They grow jealous and, hearing that she must return to the Beast on a certain day, beg her to stay another day, even putting onion in their eyes to make it appear as though they are weeping. Belle's heart is moved and she agrees to stay.
When Belle returns to the Beast's castle late, she finds him dying in his rose garden of a broken heart. Belle weeps over him, saying that she loves him; when her tears strike him, he is transformed into a handsome prince. The Prince informs Belle that long ago a fairy turned him into a hideous beast after he refused to let her in from the rain. Only by finding true love, despite his ugliness, can he break the curse.

Characters: Write in the characters here

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Setting: You need to remember the setting of the story.

Notes:
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