Welcome to the midterm review. I'm going to do what I can today to give you an overview to prepare for the test so that you will know the areas on which you must concentrate for this first examination. Let me first tell you that there will be 100 objective questions. The objective questions will be multiple choice and true and false. Many of them will be drawn from your quizzes or from quiz questions, so it's very important that you do review the quizzes in preparation for the test. Also, in taking an objective test of this nature, I would caution you to go with your first instinct. Go with your first answer. So as you go through the test, go through and do all of the questions that come easily to you first, and then go back and do the ones that give you more difficulty. Follow your first instinct. Your subconscious mind never forgets. Sometimes your conscious mind meddles and tries to correct you. So just follow your first instinct and know that your intuition is leading you in the right direction.
We will be covering these areas in this midterm exam: the background of the Humanities, the understanding of what art is, the three types of artistic criticism, (PG 53) painting, sculpture, architecture, and drama. I am going to talk about these in order.
The study of Humanities is very much a study of human values. Our taste is an exercise in the choice of values. The arts include anything that is crafted. A work of nature is not a form of art. In order for something to be "art" it must be human made. The artistic form of a work is the way the elements and parts are organized to create an overall structure. A work of art will have both subject matter and content (PG 33), and the subject matter can be anything. We praise works of art that have a high degree of structural organization, the connection of part to part and part to overall structure. A work of art is considered inexhaustible if it resists monotony.
Our perception of a work of art is often guided by what we expect to perceive. That is why children find participation so easy. (PG 20-21) They do not have predisposed expectations. When critics criticize a work of art, they reflect on their participative experience and the work of art that determined that experience. There are three forms of criticism: The descriptive, the interpretive, and the evaluative. The descriptive focuses on the form of the work of art. It shows how the different parts are related, one to another. In art, it has to do with shapes and forms and space and color. In literature it has to do with the words, how they're arranged on the page, what they are expressing. The interpretive focuses upon the content and meaning of a work of art. What does it say to us? How does it speak to us? The evaluative has to do with the relative merit of a work of art. Sometimes we feel at first when we're approaching the arts as if we don't know enough to form an opinion, as if we're not cultured enough to know how one work compares with another. We often rely on critics to tell us or to show us how these things work together.
Let's go on to the subject of painting, which is going to be very important in this particular test. Once again, I would like you to familiarize yourself with the vocabulary that surrounds painting. Many of the paintings that we look at in the text are of Egyptian origin, or of Roman origin or of Greek origin. You should know what makes them unique and different. For instance, we discover with the Egyptian paintings that most of these were done as part of the burial, and they would be painted on the walls with flat characters. They are not three-dimensional. The subject matter would be scenes from life, because the Egyptians felt they carried into the afterlife whatever was going on in this life. In fact, you remember that a King and Queen might both be buried together and all of their servants as well, along with all of their gold and their food. They just expected to carry this world forward into the afterlife forever. They truly did believe in physical immortality.
Greek and Roman painting puts more emphasis upon the beauty of the human body, also more emphasis on the beauty of the world around us. Especially the European painting was inspired by Christian themes, and some of our finest works were inspired by actually the Roman Catholic Church. Michelangelo and Leonardo da Vinci, for instance, are very, very famous. Michelangelo did the Sistine Chapel at the Vatican (PG 71) . And you will know some of his famous statues, the Pieta, Mother Mary, and Christ, David; Leonardo is famous for his Mona Lisa (PG 11) with her smile and for his painting of The Last Supper (PG 54) . These are all paintings that you may want to look at, so that you have some as a touchstone for you. So go back and review that section of your text.
When we look at a painting, we are looking at color, line, and space, and also though, we are looking at sense , which is that quality that stimulates the sense organs. You notice that a painting is going to appeal to our senses but also to our intellect. With music, you can at first experience it only from feeling and then go back and learn how theoretically it's put together. With painting I think it's a little bit harder. You may look at a painting and identify with it, whatever is represented there, and at the same time not have any comprehension of it. But as you look more and more, you begin to see how things are related and how they are put together.
Here are some of the painters that you may want to review for this test. C�zanne (PG 27) 1886-1887 was a post-Impressionist painter. He came after Monet, of course, who did the wonderful water lilies and the garden scenes and Renoir, the impressionist painter known for his garden and caf� paintings with beautiful women in gorgeous gowns. One of Cezanne's most famous paintings is Mont Sainte-Victoire. You might want to take a look at that. C�zanne believed that you could reduce everything to the shape of a cylinder or a sphere or a cube. And so as you look at his paintings, you can dissolve them into those basic different kinds of shapes.
You will also want to review abstract painting. This is something that evolved more into the 20th century. (PG 74) Helen Frankenthaler In an abstract painting, nothing is necessarily represented. If you see a representation there, it's something you've created in your own mind. There's no reference to a place or event. An abstract painting goes directly to our senses very, very quickly. Abstract art is in a way the equivalent of poetry that is free verse, in the sense that it doesn't follow the strict forms, doesn't follow the meter and the rhyme. It expresses the inner state of the artist in a different way. We often say that artists and poets need to learn, master the form before they can let go of the form and break the form. You find the celebration of the body in many of the painters. It was Michelangelo as a sculptor who said whenever he looked at a piece of marble, what he saw was the angel in the marble ready to be released. He saw the spirit emerging from the thing that is being represented. You will also want to look at three paintings that feature the Madonna, those by Coppo, Parmigianino, and Cimabue.
That moves us on now into sculpture. Quite a bit of this test will be on sculpture. In sculpture, we have the arousal of tactile senses, the sense of touch that's coming into being, because the viewer of a sculpture is invited to look at it from several different angles. So it's not just from the front. It's not just face on. We go all around it, and we want to touch it. We feel the materials, become aware of the density of the materials. We become aware of the grounding of our own beingness in the earth and in the sky. The sculpture is reaching from one extreme to the other. The Egyptian sculpture is very stylized, and was usually used to portray the ruling classes. It also was very much associaated with their burials. The Greeks and the Romans celebrate the gods, celebrate the goddesses, celebrate beauty, and celebrate religious themes. In the Baroque period with sculpture, you have a whole series of scenes that are depicted in sculpture that work together.
When we come to our more contemporary sculpture, I'd like you especially to concentrate on Rodin. There's a wonderful Rodin Garden in Paris. I hope someday you can go there and visit and see all these beautiful works that he did, and how inspired they are by the feminine figure. Rodin is a man who fought his way into being known, who went through many trials. We find this so often with artists, that they have this inner calling to express what they see and what they feel, and yet they have such a hard time becoming recognized, until the uniqueness of their art makes its impact on the world. And then we see with eyes anew. That's what happens within us. So, suddenly what seemed out of favor because it's different becomes the norm, becomes our expectation. That is a part of our human growth. I hope that's been happening to you this semester, that as you become more aware, become more knowledgeable, you are seeing things that you never saw before and appreciating them in a new way. Another sculptor that you might want to give some attention is Henry Moore, who often found shapes on the seashore that inspired his work, who felt that spaces, the shape of a hole could be as important as what is around it. You also might want to look at Calder, who did the mobile. If you've had children, you probably put a mobile over your child's crib. Now you know that Calder was the first person who came up with this art form. We also have what we call found objects in sculpture. These are just ordinary things that we pass by everyday, and we don't even see them until they are mounted in a new and a different way for us. It may be as simple as a coke bottle. Now let's move on to architecture. Architecture, architectural styles have changed through the ages. We have our marvelous Gothic architecture, which was a spiritual reflection of the love of God reaching up into the skies. The marvelous Gothic architecture, the incredible ornate European churches are the expression of what was most important to the people, God's grandeur. Would we today spend that kind of money and that many years to produce something that emanates from our spirituality?
And yet, since September 11th, here in the United States, those Twin Towers in New York, which represented commerce, which represented urbanization, which represented finance, which represented success, these Towers were built as a celebration of those things, and they were symbolic of the city of New York. When they were destroyed, that destruction went to the very heart of our capitalistic system here in the United States, the way those towers reached up.
Our buildings today do, in their own way, reflect, the spirit of the people. The concrete, unimaginative tilt-up office buildings are functional but without grace, beauty, or spirit. So it's a different kind of spiritual reflection than the ancient Gothic cathedrals. It does not speak well for our values. Here are some buildings I want to point out to you. Take a look at the New York Public Library, which is built very much in the model of a Greek theater. I'd like you also to take a look at the Union Carbide Building in New York, where you see the functions and values of the society reflected in the building itself, much like the Twin Towers that I'm talking about.
Architecture, unlike sculpture, is a space that we live in. So the architect is creating a space that has beauty but also has function. Know your key terms, earth-rooted, sky-oriented, earth-resting, centered space. Style may often be symbolic. In Roman times, the architecture, the buildings that we know, were used as a form of worship. If you go to Athens and you go to the Parthenon, you see all of these incredible columns created as a celebration to the gods. In Roman times, the buildings that were built, the Colliseum for instance, was a building that was built to house games to celebrate the grandeur of the Roman Empire. The huge, vast size of the building had to do with the function that would be performed there with masses of spectators.
For more contemporary architecture, consider Frank Lloyd Wright, who built homes that seemed to become a part of the environment, who de-emphasized clutter, who wanted form and function to be one and the same and yet a part of nature. When the earth is used as a stage for architecture, we say it is earth-resting. When it reaches upward, we say it is sky-oriented.
Know some of the more famous buildings as you prepare for this test. Also, there will be emphasis here on Gaudi's work in Park Guell in Spain. Gaudi was very much influenced by the Catholic religion and went back to some of the curving lines and the shapes of living things. So know him and know his work.
Also know Ponte, who's one of the greatest critics of architecture. He says that architects have to consider many things when they're designing a building. They have to consider the materials that would be used, the scenic setting where the building would be placed, the people who will live in it. What will be their needs? You know that a building has succeeded when people are happy in it. And the architect needs to have an intimate understanding of what he is working with and who he is working for, if he is going to create a building of elegance and wonder.
Let's move on to drama. Movies of are based on drama. Drama goes back to the ancient Greeks. Aristotle wrote about the perfect tragedy, and your text talks about that. The perfect tragedy is a tragedy that unites the unities of time, place, and action. The play that is used as Aristotle's example of the perfect play was Sophocles' play, Oedipus Rex: Oedipus the King. This play still stands as the model of the perfect drama, even today in the 21st century. This particular play begins with Oedipus standing in front of his palace. The whole play takes place in front of the palace. This is the unity of place. It takes place in a single day, within 24-hours. This is the unity of time. You also have the unity of action in the sense that Oedipus is discovering who he is. This is about Oedipus finding his own identity. It was foretold before Oedipus' birth that he would kill his father and marry his mother. Oedipus does not know this about himself.
In the course of this play, he interviews a series of people in order to find out why his city of Thebes is in a plague. Each person he interviews comes to speak to him in front of his palace. And as each person he interviews gives him an answer, he thinks he is closer to the truth. But the truth that he is really learning is the truth of who he is, the truth of his own being. What he finds out is that he himself is the cause of the pollution that has brought this plague to the city of Thebes. So the action has within it then what we call a reversal. The truth that he seeks, in order to resolve the problem, is the truth of his identity, that he has killed his father, that he has married his mother, that his children are incestuous children, and he calls down upon himself the very thing that he had dictated would be the fate of the person who polluted the land. He says that the person who did this will be driven from the land, and so at the end, he blinds himself. His wife Jocasta, when she discovers this, has hung herself. The blind Oedipus leaves with his incestuous brood of children with him.
Now, this is an ancient Greek play, and yet is the kind of tragic action that we find in much of Shakespeare. And the question that always looms behind this is how much is a result of Oedipus's own character, how much of this is the result of fate? You do have a very complicated plot. This plot is essential to defining the action. Now what we feel at the end of this play, at the end of any tragic action, is pathos. We feel sorry for the character who has been involved in this. Oedipus is a man of character, and we feel he does not deserve this fate.
The Greek tragic action is very different from the comedy that was performed by the Greeks, because that was Old Comedy. It involved satire, farce, burlesque. In ancient Greece there would be three plays, a tragic trilogy. Then at the end of it, there would be a comedy, and this comedy would bring a lighter touch to the dramatic experience the people were having. Also, these plays were performed at the spring of the year, and they were part of a very festive ritual, and oftentimes, the Greek comedies would be performed with one of the characters being what is called a bomolakos, or a fool.
Our current comedies and tragedies are based very much on the same kind of plot. So we see that human nature essentially has not changed. The things that make us cry and the things that make us laugh have endured throughout the centuries.
Oftentimes in drama we have represented for us a mythical aspect that becomes a kind of archetype of human behavior. When I say an archetype, it's a symbol of something that is very deeply united in our own being. For instance, the play Romeo and Juliet has the archetypal union of death and sex. In the Renaissance, the word to die meant to have sexual intercourse. That was one of the meanings of it. Many poets, for instance John Donne particularly, play on this word. Shakespeare plays on this word and uses that often to show two or three different meanings. And so the symbol is presented in such a way that you can interpret a poem maybe two or three or four different ways, depending upon how you interpret that word "to die."
Shakespeare's theater was more complex than the Greek theater. Greek theater was performed outdoors because we had no lighting at that time. The stage was very simple, and most of the setting comes to us through the words in the play, the words of the chorus, the words of the main characters. In Shakespeare's drama, we do have a theater with a larger stage that extends out with the curtain at the back of the stage. It is possible for people to come from behind the curtain, it is possible for them to come up through a trapdoor onto the stage, and it is a more complex theater. However, even in Shakespeare's day, there was no lighting, and so the plays had to be played during the daytime. The people who were poor stood or sat around the stage. The people who had more money would sit in the back and have their own special seating.
This will give you an overview of what to prepare for as you get ready for your exam. Do not change your answers. I hope you are enjoying this course, and I wish you well with your midterm exam.
Learning Object Info: Midterm Exam Information Type: HTML Submitted By: Adrian Windsor
Midterm Exam Vocabulary
Chapter 1: The Humanities: An Introduction
Humanities: Broad area of human creativity and study essentially involved with values and generally not using strictly objective or scientific methods.
Values: Object and events that we care about that have great importance.
Sensitivity: When we study humanities , we explore the reaches of human feeling in relation to values and we increase our sensitivity to ourselves, others , and the values in our world.
Work of Art: An artifact that informs about values by means of an artistic form.
Subject Matter: What the work of art is about, the content of the work of art
Taste: Our response to art. Some things we like better than others.
Form: The organization of a medium of art that clarifies or reveals a subject matter.
Perception: Awareness of something stimulating our sense organ. What we perceive is
what we believe.
Abstract Idea/Concrete Image:
Love, hate, indecision, arrogance, jealousy, ambition, justice, prejudice are
all abstract idea. This is in opposition to a concrete image or word picture.
In the poem falling leaf, the leaf is concrete, loneliness is an abstract idea
Associated with it.
Chapter 2: What Is a Work of Art?
Work of Art: An artifact that informs about values by means of an artistic form
Perception: Awareness of something stimulating our sense organ. What we perceive is that we believe.
Conception: Thinking that focuses on concepts or ideas
Abstract Idea/Concrete Image:
Love, hate, indecision, arrogance, jealousy, ambition, justice, prejudice are
all abstract idea. This is in opposition to a concrete image or word picture.
In the poem falling leaf, the leaf is concrete, loneliness is an abstract idea
Associated with it.
Subject Matter: What the work of art is about
Content: Subject matter detached by means of artistic form from its accidental or insignificant aspects and thus clarified and made more meaningful.
Participative Experience: Thinking from something, letting that thing initiate and control everything that comes into awareness.
Aesthetics: The study of the creative process, the work of art, the aesthetic experience. An aesthetician studies these things.
Significant Form: When the form speaks to us, suggests content to us.
Mixed Media: A combination of two or more artistic media in the same work.
Chapter 3: Being a Critic of the Arts
Critic: One who makes critical judgments
Descriptive Criticism: The description of the subject matter and form of a work of art.
Interpretive Criticism: Explication of the content of a work of art
Evaluative Criticism: Judgment of the merits of a work of art.
Symmetry: A feature of design in which two halves of a composition on either side of
an imaginary vertical axis are more or less of the same size, shape, and placement.
Region: In a painting, a large part.
Regional Relationships: Significant relationships between regions.
Structural Relationships: significant relationships between and among details or regions to the totality.
To review this, go to the Mondrian Composition in White, Black and Red, figure 1-6. The Red triangle at the bottom, because it is larger, relates to the black rectangle on the upper left. The red rectangle estabp9sues a str0ng base for a square of considerable area. This square with its five horizontal lines is a heavy region that contrasts with the lighter black and white regions above. In Pollock's Autumn Rhythm, figure 3-2, there are no distinct regions. Picasso' Guernica is balanced with respect to details, region, and structure. Figure 1-4
Form-content: The embodiment of the meaning of a work of art with the form.
Chapter 4: Painting
Tempura: pigment bound by egg yolk
Pigment: the coloring agent for painting
Fresco: A wall painting. Wet fresco involves pigment applied to wet plaster. Dry fresco
involves pigment applied to a dry wall. Wet fresco generally is much more
enduring than dry fresco.
Oil: Artwork where the medium is pigment mixed with linseed oil, varnish, and
turpentine.
Impasto: The painting technique of heavily applying pigment so as to create a three-
dimensional surface.
Glazing: Translucent oil is applied allowing a higher level of paint to show something of
a lower layer.
Watercolor: pigment bound by a water-soluble adhesive, such as gum Arabic.
Acrylic: Pigment bound by a synthetic plastic substance, allowing it to dry much faster
than oils.
Mixed media: a combination of two or more artistic media in the same work.
Binder: The adhering agent for the various media of painting.
Line: A continuous marking made by a moving point on a surface.
Axis Line: An imaginary line – generated by a visible line or lies – that helps determine
the direction of the eye in any of the visual arts.
Hue: The name of the color
Saturation: The purity, vividness, and intensity of a hue.
Value: In regard to color, value refers to the lightness or darkness of a hue; shading
Primary colors: Red, yellow and blue
Secondary colors: Green, orange, and violet
Complementary colors: Colors t hat lie opposite to each other on the color wheel.
Texture: The surface feel of a material, such as smooth bronze or rough concrete.
Sensa: The qualities of objects or events that stimulate our sense organs, especially our
eyes.
Chapter 5: Sculpture
Density: Compactness, mass
Tactile: Touch sensations, both inward and outward.
Voluminosity: of ample size and fullness
Sunken relief: Sculpture made by carving grooves of various depths into the surface
planes of the sculptural material, the surface plane remaining perceptually distinct.
Low relief: Sculpture with a background plane from which the projections are relatively
small.
High relief: Sculpture with a background plane from which the projections are relatively
large.
Surface relief: Sculpture with a flat surface plane as the basic organizing plane of the
Composition
Sculpture in the round: Sculpture freed from any background plane.
Pieta: One of the last sculptures of Michelangelo, with Joseph holding the fallen Christ
and the Virgin Mary on the right and Mary Magdeline on the left. This is a
sculpture in the round.
Objective correlative: An image that is similar to a subjective awareness.
Modeling: The technique of building up a sculpture piece by piece with some plastic or
malleable material.
Technology: Has an effect on sculpture because it applies new techniques for molding
and shaping and cutting.
Earth sculpture: Sculpture that makes the earth the medium, site, and subject matter.
Chapter 6: Architecture
Centered space: A site – natural or human-made that organizes other places around it.
Living space: The feeling of the comfortable positioning of things in the environment
that promotes both liberty of movement and paths as directives.
Nave: The main body or middle part of a church, flanked by aisles and extending from
the entrance to the apse, a vaulted semicircular recess in the building
Rose window: The famous window in Chartres Cathedral in France.
Doric Order: An orderly arrangement of columns, such as in the Parthenon.
Frieze: Low relief sculpture running high and horizontally on the wall of a building.
Cornice: The horizontal molding projecting along the top of a building
Pediment: The triangular space formed by roof jointure in a Greek temple or a building
on the Greek model.
Chapter 7: Literature
Assonance: A sound structure employing a similarity among vowels, but not
consonants.
Alliteration: The commencement of two or more stressed syllables of a word group with
the same consonant sound or sound group.
Iambic rhythm: This is a time of poetic meter. In iamb is a metrical unit, or foot, of
two syllables, the first unaccented and the second accented. This is the natural
rhythm of the English language.
Theme: In music, a melody or motive of considerable importance because of later
repetition or development. In other arts, a theme is a main idea or general topic.
Denotation: the meaning of a term when it identifies something by naming it-a specific,
literal level
Connotation: secondary or associated meaning, a subtler level where words mean more
than they obviously say.
Blake: the rose is sick might denote wilted or blighted. Connotes sick morally,
spiritually
Imagery: Use of language to represent objects and events with strong appeal to the
senses, especially the visual.
Metaphor: An implied comparison between different things.
Simile: A comparison using like or as
Symbol: Something perceptible that stands for something more abstract.
Diction: In literature, drama, and film, the choice of words with special care for their
expressiveness.
Narrative: A story told to an audience.
Episodic Narrative: A story composed of separate incidents or episodes tied loosely
together.
Epic: A lengthy narrative poem, usually episodic with heroic action and great cultural
scope.
Protagonist: The chief character in drama and literature.
Lyric: A poem, usually brief and personal, with an emphasis on feelings or states of
mind as part of the subject matter. Lyric songs use lyric poems.
Chapter 8 Drama
Mimesis: Imitation or reproduction of the supposed words of another, as in order to represent his character. Drama is said to be an imitation of life: Mimesis/
Drama: A composition in prose or verse presenting in dialogue a story involving conflict or contrast of character, especially one intended to be acted on a stage.
Allusion: A mentioning of something, a casual or passing reference.
Willing suspension of disbelief: We decide for the moment to accept what is happening on the stage as real life.
Aesthetic Distance: We maintain a distance between belief and disbelief, knowing that what we are witnessing has been artistically created.
Soliloquy: An extended speech by a character alone with the audience.
Plot: The sequence of actions or events in literature or drama.
Character: In drama, the agents and their purpose.
Thought: The ideas expressed in works of art. Also, the thinking that explains the motivations and actions of the characters in a story.
Dialogue: A conversation between two or more persons.
Spectacle: The visual setting of a drama.
Recognition: In drama, the moment of truth, the climax.
Reversal: In drama, when the protagonist's fortunes turn from good to bad.
Proscenium: The arch, or "picture frame," stage of traditional theater that sets apart the actors from the audience.
Stereotype: A completely predictable character.
Tragicomedy: Drama that includes characteristics of both tragedy and comedy.
Learning Object Info: Midterm Exam Vocabulary Type: HTML Submitted By: Adrian Windsor
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CHAPTER 1
Cave painiting From Chauvet Caves, France
PG 3
David Alfara Siqueiros
Echo Of a Scream
Mexican Revolution - Spanish Civil War 1930s
Enamel on Wood
PG 6
Peter Blume
American painter from Russia
The Eternal City
Oil
Magic Realism (interleaving time and place and the dead and the living in an emotional space that confronts the viewer as a challenge. (PG 7)
Pablo Picasso
Guernica
Named after a town bombed during the Spanish Civil War
(PG 9)
Pg 10
Pablo Picasso
Composition Study
Pencil on White paper
Leonardo da Vinci
Mona Lisa
Oil on Panel
(PG 11)
Cummings
PG 14
Gabriel Okara
Piano and Drums
Pg 15
Edward Hopper
Early Sunday Morning
1930
Loneliness is usually accompanied by anxiety
Oil and Canvas
Pg 17
CHAPTER 2
Pg 20
Jim Dine
Shovel
Mixed Media
accepted criteria for determining whether something is a work of art that the object or event is made by an artist
the object or event is intended to be a work of art
recognized experts agree that it is a work of art
Eddie Adams
Execution in Saigon
1968
General Loans shooting a Vietcong captive
"The General Killed the Vietcong, I killed the General with my Camera"
Still photographs are the most powerful weapon in the world"
Pg 23
Francisco Goya
May 3 1808
Oil on Canvas
The Prado, Madrid
Napoleonic soldiers killing Spanish Guerrillas the day after the Madrid insurrection
Faces of Victims but not killers
Pg 24
Participative Experiences
Paul Cezanne
Mont Sainte Victoire
Oil on canvas
Local Legend is that the mountain was home to a God and therefore a holy place
PG 27
Participation and artistic Form
Jon Rewald
Cezanne Expert
Pg 28
Philosophers of Art Clive Bell and Roger Fry
Pg 29
Significant form in painting
Line to line, line to color, color to color, color to shape, shape to shape, shape to texture etc..
Anything that has significant form is a work of art, When lines colors and the like pull together tightly, independently of any objects or events they may represent
Participation, Artistic Form and Content (PG 34)
Kevin Carter
Vulture and the child in Sudan 1993
Lichtenstein
PG 36