Chapter 4 – Visual Elements
Read Chapter 4, then complete this self-test study guide. I’ll post the answers to these questions in a separate document so you can check your answers.
Terms and Concepts: A Chapter Outline
1. Lines
--contour
--directional
--implied
2. Shape/Mass
--geometric
--organic
3. Light/Value
--implied light
--chiaroscuro
4. Color Wheel
--primary colors
--secondary colors
--tertiary colors
5. Color Harmonies
--monochromatic
--complementary
--analogous
6. restricted palette vs. open palette
7. Implied Space
--picture plane
--linear perspective
--foreshortening
--atmospheric perspective
8. Time and Motion
In order to intelligently analyze a work of fine art, we need to get a great deal of vocabulary under our belt. Chapter 4 introduces you to the visual elements, which can be thought of as the ingredients of form. (“Form” in this context suggests the structure of a work of art, as distinct from its content, or subject matter).
One of my concerns in presenting this material, and in your textbook’s presentation of it, is that all of this terminology, all of this jargon, is rather off-putting. It is challenging to assess a work of art in this very academic way and still maintain any enjoyment of it. I want to make clear that, although it is important that you master the concepts in these chapters and that you understand what the terms mean, art appreciation is not a science. Not everyone will see each work of art the same way. Few of these concepts are black-and-white; for example, you may experience a painting as balanced, while someone else may experience it as unbalanced. And both of you would be right! (The key is to be able to articulate your reasons for assessing the work the way you do. There are no right or wrong answers when it comes to appreciating art, but you must be able to support/defend what you say).
It is okay to have a visceral reaction to a work of art. It is okay to experience it with your brain, your heart, and your soul. This is the power of art—it speaks to us on a level that is beyond the earthly, beyond the scientific, beyond words.
Often, that which is most powerful to you about a work of art will be something that you cannot put into words at all!
But, all that being said, you do need to know these terms and be able to use them correctly. They will enable you not only to appreciate art, but to express your appreciation. They will enable you to deepen your understanding of what appeals to you, what you find unappealing, and how you react to visual stimuli.
The following is a slideshow intended to function as a self-test. Please view the images I’ve included; as before, it is not important that you know anything about these pieces, in terms of historical facts or data like artists’ names and dates. Only look. I’ve provided questions for you to apply what you’ve learned from your reading.
Questions
1. Find an example of a contour line in either of the above paintings. What is the function of this line?
2. In the painting on the left, find the directional lines. Where do they begin, and where do they end? What is the function of these lines?
3. Find an example of an implied line in both paintings (hint: they are formed by vision in a certain direction). What is the function of these lines?
4. Find an example of a geometric shape in either painting. Now find an example of an organic shape in either painting. What makes these types of shapes different?
5. Both of these paintings display implied light. Where is the implied light source in the painting on the right? (that is, from what direction does the light in the scene appear to be coming?) How do you know where the light source is?
6. Both of these paintings use chiaroscuro to suggest that the forms in them are 3-dimensional. Pick a form in either painting (it can be a person, or a building, or anything else) and explain how chiaroscuro is used to achieve this effect.
7. Decide which of the above paintings has a monochromatic color harmony.
8. Which one contains a good example of a complementary color harmony?
9. Which one has an analogous color harmony?
10. Which of the two above works has a restricted palette? Which one has an open palette?
11. One of the above two paintings uses both linear perspective and atmospheric perspective, which work together nicely to imply 3-dimensional space. Which one? Where do you see evidence of the linear perspective? Where do you see evidence of the atmospheric perspective?
12. One of these paintings uses foreshortening to imply 3-dimensional space. Which one?