Answer:
Tenor
Explanation:
Sorry if I'm wrong
this is from yesterday watcha guys/everything in between /girls think?
Answer: Did you make this? If you did it looks great! You"ll just get better and better from this one-
Explanation:
Is this statement true or false?
Impressionist paintings by John Twachtman depict a moment in time.
true
false
Answer:
True
Explanation:
what is a sub culture? why is it important to enjoy the music rather then just favor the fashion that goes along with it?
Answer:
See answer below in explanation
Explanation:
A subculture is a cultural group within a larger culture, often having different beliefs or interests than the larger group. It is important to enjoy the music rather than focus on the fashion because it allows you to look at the subculture with a more objective perspective and avoid bias.
sorry if this isnt helpful, im going off my own interpretation!
i feel like no one knows this song but- does anyone know wagon wheel by Darius Rucker
Answer:
no
Explanation:
Look at this artwork by Paul Klee, 1922, titled “Senecio”
Identify at least 3 principles of design you see.
Discuss how they impact the artwork.
Explanation:
Contrast is one principle. The brown background is dark and really makes the face pink and white if the face stand out.
second principal is variety. different shapes and colors used throughout.
Lastly there's a sense of balance. the artwork could be split down the middle and be close to identical. just that the eyes aren't placed exactly the same and the different colors.
AYUDA,encontre criterio pero no encontre nada mas
Answer:
aquí están las respuestas
Explanation:
Answer: sorry. i just need points!
Explanation:
so if anyone can make a joke about a goldfish i will give you a bunch of points
Answer:
a goldfish
Explanation:
Um goldfish right Um nah sorry don't have one
How does the critique process help a viewer to understand a piece of artwork rather than just see the artwork?
Answer:
Explanation:
FORMAL ANALYSIS
-Four levels of formal analysis, which you can use to explain a work of art:
1. Description = pure description of the object without value judgments,
analysis, or interpretation.
· It answers the question, "What do you see?"
· The various elements that constitute a description include:
a. Form of art whether architecture, sculpture, painting or one of the minor arts
b. Medium of work whether clay, stone, steel, paint, etc., and technique (tools used)
c. Size and scale of work (relationship to person and/or frame and/or context)
d. Elements or general shapes (architectural structural system) within the composition, including building of post-lintel construction or painting with several figures lined up in a row; identification of objects
e. Description of axis whether vertical, diagonal, horizontal, etc.
f. Description of line, including contour as soft, planar, jagged, etc.
g. Description of how line describes shape and space (volume); distinguish between lines of objects and lines of composition, e.g., thick, thin, variable, irregular, intermittent, indistinct, etc.
h. Relationships between shapes, e.g., large and small, overlapping, etc.
i. Description of color and color scheme = palette
j. Texture of surface or other comments about execution of work
k. Context of object: original location and date
2. Analysis = determining what the features suggest and deciding why the artist used such features to convey specific ideas.
· It answers the question, "How did the artist do it?"
· The various elements that constitute analysis include:
a. Determination of subject matter through naming iconographic elements, e.g., historical event, allegory, mythology, etc.
b. Selection of most distinctive features or characteristics whether line, shape, color, texture, etc.
c. Analysis of the principles of design or composition, e.g., stable,
repetitious, rhythmic, unified, symmetrical, harmonious, geometric, varied, chaotic, horizontal or vertically oriented, etc.
d. Discussion of how elements or structural system contribute to appearance of image or function
e. Analysis of use of light and role of color, e.g., contrasty, shadowy,
illogical, warm, cool, symbolic, etc.
f. Treatment of space and landscape, both real and illusionary (including use of perspective), e.g., compact, deep, shallow, naturalistic, random
g. Portrayal of movement and how it is achieved
h. Effect of particular medium(s) used
i. Your perceptions of balance, proportion and scale (relationships of each part of the composition to the whole and to each other part) and your emotional
j. Reaction to object or monument
3. Interpretation = establishing the broader context for this type of art.
· It answers the question, "Why did the artist create it and what does it mean
· The various elements that constitute interpretation include:
a. Main idea, overall meaning of the work.
b. Interpretive Statement: Can I express what I think the artwork is about in one sentence?
c. Evidence: What evidence inside or outside the artwork supports my interpretation?
4. Judgment: Judging a piece of work means giving it rank in relation to other works and of course considering a very important aspect of the visual arts; its originality.
· Is it a good artwork?
· Criteria: What criteria do I think are most appropriate for judging the artwork?
· Evidence: What evidence inside or outside the artwork relates to each criterion?
· Judgment: Based on the criteria and evidence, what is my judgment about the quality of the artwork?
Barrett's Principles of Interpretation
1. Artworks have "aboutness" and demand interpretation.
2. Interpretations are persuasive arguments.
3. Some interpretations are better than others.
4. Good interpretations of art tell more about the artwork than they tell about the critic.
5. Feelings are guides to interpretations.
6. There can be different, competing, and contradictory interpretations of the same artwork.
7. Interpretations are often based on a worldview.
8. Interpretations are not so much absolutely right, but more or less reasonable, convincing, enlightening, and informative.
9. Interpretations can be judged by coherence, correspondence, and inclusiveness.
10. An artwork is not necessarily about what the artist wanted it to be about.
11. A critic ought not to be the spokesperson for the artist.
12. Interpretations ought to present the work in its best rather than its weakest light.
13. The objects of interpretation are artworks, not artists.
14. All art is in part about the world in which it emerged.
15. All art is in part about other art.
16. No single interpretation is exhaustive of the meaning of an artwork.
17. The meanings of an artwork may be different from its significance to the viewer. Interpretation is ultimately a communal endeavor, and the community is ultimately self- corrective.
18. Good interpretations invite us to see for ourselves and to continue on our own.