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Art Cram Kit ® 19 2 0 1 3 YEAR S 2 014 DOING OUR BES EDITIO N T, S O YOU CAN DO Y ART OURS ART Art in the CRAM KIT Early 1900s EDITOR ALPACA-IN-CHIEF Nicole Chu Daniel Berdichevsky ® the World Scholar’s Cup® ART CRAM KIT ® A Word from the Author ................................................................................................................................... 2 Elements of Art, Principles of Composition, and Techniques ........................................................................ 3 Introduction to Art History ............................................................................................................................... 8 Western Art History .......................................................................................................................................... 9 Nonwestern Art History .................................................................................................................................. 20 Woman with a Hat (1905) ............................................................................................................................. 22 Ma Jolie (1911-12) ............................................................................................................................................ 23 Street, Berlin (1913) ......................................................................................................................................... 24 Little Painting with Yellow (Improvisation) (1914) ..................................................................................... 25 Fountain (1950 replica) .................................................................................................................................. 26 Bauhaus Building (1925) ................................................................................................................................. 27 Unique Forms of Continuity in Space (1913, re-cast 1931) .......................................................................... 28 Portrait of a German Officer (1914) ............................................................................................................... 29 Republican Automatons (1920) ..................................................................................................................... 30 Wake Up, America! (1917) .............................................................................................................................. 31 War Memorials ................................................................................................................................................ 32 Liberty Memorial (1926) ................................................................................................................................. 33 Thiepval Memorial to the Missing of the Somme (1932) ............................................................................ 34 The Hand of Man (1902) ................................................................................................................................ 35 Nature Symbolized No. 2 (1911) ..................................................................................................................... 36 Both Members of This Club (1909) ............................................................................................................... 37 Ethiopia Awakening (1914) ............................................................................................................................ 38 City Night (1926) ............................................................................................................................................. 39 Chicago Tribune Tower (1923-25) ............................................................................................................... 40 Art in Three Pages ........................................................................................................................................... 41 List of Lists ....................................................................................................................................................... 44 BY KEELY SARR CORNELL UNIVERSITY ‘14 TO LOUIS VAUXCELLES - BECAUSE NOBODY LOVES A CRITIC (EXCEPT ME, APPARENTLY) ART CRAM KIT | 2 WHAT IS A CRAM KIT? A Word from the Editor COMPETITION IS NEARING… STRUCTURE OF A CRAM KIT The handful of days before competition can be the The main body of the Cram Kit is filled with charts and most overwhelming. You don’t have enough time to diagrams for efficient studying. You’ll also find helpful review everything, so you need to study strategically. quizzes to reinforce the information as you review. Cram Kits are designed to help you achieve that The concluding Crunch Kit condenses the entire subject goal----to offer you a quick snapshot of both the most into a few final pages of must-know facts----followed by a testable and most easily forgotten facts in each event. series of glossary-like lists to help you organize key information. CRAMMING FOR SUCCESS A Word from the Author EXPLAINING THE OVERVIEW PIECES OF THE ART PIE MODERNIST TIMES Section IV 25% This year’s USAD Art Resource guide uses eighteen Section I examples of 20 th century painting, sculpture, and 25% architecture to explore the rise of modernism before, during, and after WWI. Section I includes a brief history of art from the Paleolithic to the present and introduces the basic elements of art . Section II focuses on the growing modernist movement in Europe in the early 20 th century Section III 25% Section II . Section III covers art specifically created in 25% response to WWI . Section IV expands upon pre- and postwar American modernism Section I is perhaps the most dense, but little of what it TIME IS TICKING! includes is directly related to modernism. Try to study Modern artists were all basically part of the same big this section in the context of the works included in the clique. Many artists and critics (such as Louis other three sections. Vauxcelles, to whom this Cram Kit is dedicated) were Since this is art history, don’t forget to spend some time associated with more than one movement. Studying the getting up close and personal with the works movements’ shared figures will help you if you know themselves! Instead of memorizing every comment Cubists but forget the Fauves. about the visual aspect of a work of art, practice your close looking skills on the featured works and use the On that note, treat the 1913 Armory Show like it’s one of images to aid your analysis. these important artists! Nearly every artist featured in the Resource Guide showed at or visited this exhibition. When you’re down to the last few hours (or minutes), take a break from re-reading written information: it Again, every bit of information in the Resource Guide all probably won’t stick with you. Spend those last five comes back to the images, so start by spending a good minutes reviewing the works again (but beware: you chunk of time with the Art Reproductions Booklet. If you might find visions of Uncle Sam and automatons like flashcards, screenshot the works from the booklet dancing through your head during the test!). and use PowerPoint to create a digital image set that’s perfect for last-minute reviewing. ART CRAM KIT | 3 ART FUNDAMENTALS Elements of Art, Principles of Composition, and Techniques (1/5) LINE, SHAPE, SPACE, TEXTURE, PERSPECTIVE COLOR LINE: THE MOST BASIC ELEMENT OF ART Primary color + primary color = secondary color Secondary color + primary color = tertiary color Type of Line Example Effect Creates Implied . illusion of a line Curved/jagged Active The Horizontal Peaceful horizon Moves eyes Gothic Vertical upward and instills churches awe SHAPE (2-D) AND FORM (3-D) Hue Name of color on the wheel Neutral Black, white or shade of gray Value Lightness or darkness of a hue or a gray SPACE Intensity Purity of a hue (Primary colors are purest) Positive space: The figures in an artwork; here, the alpaca DASTARDLY COLOR SCHEMES Negative space: Empty areas; here, the black background Complementary Opposite colors on the color wheel colors (such as blue and orange) TEXTURE Warm colors Red, orange, yellow Actual texture: Touchable surface; i.e., an alpaca Cool colors Green, blue, violet fleece rug or impasto (thick layers of paint) Local color Real-life lighting on colors Visual texture: Illusion of texture; i.e., photo of sandpaper or contrasts of light and dark Optical color Color in different lighting condition s Arbitrary color Emotional or symbolic colors WAYS TO ACHIEVE ILLUSION OF DEPTH Atmospheric perspective: Mimics smoke or fog LIGHT(E)NING QUIZ Linear perspective: QUESTIONS ANSWERS Lines meet at a vanishing point 1. What is impasto? 1. thick layers of 2. Art’s most basic element. paint—usually Different sizes and levels of oil 3. Which three colors are the detail based on distance MOST intense? 2. line Overlapping of objects 4. Footprints form a(n) 3. red, yellow, higher or lower in the image ______ line. and blue 4. implied ART CRAM KIT | 4 ART FUNDAMENTALS Elements of Art, Principles of Composition, and Techniques (2/5) PRINCIPLES OF COMPOSITION DRAWING MEDIA RHYTHM: MOVEMENTS AND PATTERNS Hard pencils: thin & light lines Graphite A motif is an element of a pattern. Soft pencils: thick & light or dark lines Individual squares are motifs in checkerboard Extreme version of a soft pencil; the pattern, for example. Charcoal Motif color of the paper can show through Soft, easily blended sticks of color
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