Topic Test Review

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Symbolic expression is the act of representing an idea or message through the use of symbols. Visual elements are vital to symbolic expression because they allow an artist to create symbolism and incorporate creativity, which would otherwise be difficult or impossible.

This painting is by Géricault called, The Raft of the Medusa. The artist has effectively used space by first creating a triangular shape with the raft and bodies of the men acting as the base. Everything in the painting then leads up to the man waving the flag (center, top-right). We also see shade and shadow among the people and the sails, which gives it depth and also helps to again direct our eyes. There is also an element of sfumato used by the artist in the sea and the ocean, in order to emphasize the raft in the forefront, and to create a sense of mystery and fear.

If we were to touch an artwork, and it felt how it looked like it would feel, then it would have actual texture (real texture). If we were to touch an artwork, and its texture was different from what it appeared to the eye, then it would be considered to have implied texture (the illusion of texture). Actual texture occurs in both relief and in the round sculptures. Implied texture is found in most other forms of visual art (ex: painting, drawing, pastel, etc.).

He wears a gold laurel-wreath crown, a delicate lace collar, a red velvet cape with ermine lining and a wide ermine collar, and elaborately embroidered shoes in gold. Beneath his throne is thick carpet containing the image of an eagle, which was the symbol of ancient Rome. We recognize and can imagine the feel of these materials because of that artist's skill in creating illusions of texture. The artist used his skills with texture to convey his imperial power.

The visual or tactile characteristics of a surface (ex: smooth or rough), adding dimension to art. This painting is Marcel Duchamp's Nude Descending a Staircase No.2. The artist has used texture in a unique fashion, in that he has used line as a form of texture to created a two-dimensional piece. The subject in the painting appears to be moving quickly downwards in a diagonal pattern from top-right to bottom-left.

Sfumato is an Italian term for graduations of light and shadow to produce a hazy effect. This painting is by Correggio called, Assumption of the Virgin. Inspired by Leonardo da Vinci's spotlighting effects of illumination of sfumato, Correggio used sfumato to create a dreamlike effect in his fresco. The light at the top appears to filter down through the clouds among the shadows and figures. Although the objects are defined and recognizable, there is still an overall haze and blend across the entire image.

Line is defined as a path through space. Horizontal lines create a path from side to side, and provide the horizon for a two-dimensional piece of art. Vertical lines create a path up and down, and provide strength and permanence to a piece. Diagonal lines slant and help create a sense of motion. Curvilinear lines, or curved lines, slowly change direction. Spirals and circles begin with a curvilinear line. Zigzag lines are connected, usually diagonal lines, and can travel horizontally or vertically.

Modeling is the act of using value to create the illusion of depth using shadow and shade. Michelangelo was a master of modeling in his paintings because of his skills as a sculptor. He understood how shapes looked and felt in three dimensions and was able to put this to work in paintings such as The Holy Family.

Cross-hatching is a technique used to create a sense of density through overlapping lines, and impasto is a technique used to create a sense of depth through thickly applied paint, often so one can see the brush strokes. An artist might select cross-hatching over impasto to create various values or degrees of lightness and darkness. An artist might select impasto over cross-hatching to emphasize depth or dimension to a painting.

Answers will vary, but should include at least one example for each element. Examples may include: Line: Horizontal line of the tie/scarf; the vertical lines in the basket and with the flowers; the diagonal lines of the shawl; the curvilinear lines of the flowers and that of the woman; etc. Color: the darkness in the background to draw the eyes to the flowers and woman; the contrast in light between the woman and the flowers; etc. Texture: the shadowing on the basket, shawl, and flowers make them appear real if we could touch them; etc. Space: the grandness of the flowers; the small portions of the woman; the man standing behind the basket, the way the flowers appear overtop the woman's head and body; etc. Shape: the shape of the basket, the flowers, the flower centers, the body of the women, etc. Form: the depth created by the man behind the woman and the flowers; the height and presence of the flowers; the meekness and serenity of the woman; the way the eyes seems to start at the woman and then go up and cascade along the flower; etc.

This sculpture is called the Horse, by Debra Butterfield. The sculpture has actual texture because the texture we see is what we will most like feel like. Students responses of texture may vary, but will most likely include the following terms/textures: roughness of the wood/sticks, roundness of the sticks and the parts of the horse, and sharpness of the sticks.

This is Saint Peter's Basilica, located in the Vatican. The architect used vertical lines to emphasize the strength and permanence of the building and horizontal caps on the columns to keep the façade from escaping into the heavens and to help contain it as a piece of art.