TExES Art EC-12 178 flashcards

32 cards. Read the term and the definition here. The deck at the top of this page is optional.

Elements of art

The basic visual components-line, shape, form, color, value, texture, and space-that artists organize to create compositions and communicate meaning in works of art.

Principles of design

Organizational strategies such as balance, emphasis, contrast, movement, pattern, rhythm, unity, variety, proportion, and scale that describe how elements of art are arranged within a composition.

Complementary colors

Colors opposite each other on the color wheel, such as red and green or blue and orange; placed side by side they create maximum contrast and visual vibration.

Analogous colors

Colors adjacent on the color wheel, such as blue, blue-green, and green; they share a common hue and produce harmonious, closely related color schemes.

Value in art

The relative lightness or darkness of a color or neutral; value changes create contrast, volume, and the illusion of three-dimensional form on a flat surface.

Impasto technique

A painting technique in which thick layers of paint are applied with a brush or palette knife, leaving visible texture and relief on the canvas surface.

Sgraffito

A decorating technique in which a surface layer is scratched away to reveal a contrasting underlying layer, used in ceramics, fresco, and printmaking.

Lost-wax casting

A sculpture process in which a wax model is coated with investment, melted out, and replaced by molten metal, producing a hollow metal cast.

Kiln ventilation safety

Kilns must be vented to remove carbon monoxide, sulfur oxides, and metal fumes; loading glazed ware with adequate spacing reduces toxic emissions and firing hazards.

Solvent studio safety

Use solvents with local exhaust ventilation, wear gloves and eye protection, keep containers closed, and store away from ignition sources because vapors are flammable and toxic.

Linear perspective

A Renaissance system using a horizon line and vanishing points to create the illusion of depth; Brunelleschi is credited with its formulation in early fifteenth-century Florence.

Chiaroscuro

Italian for light-dark; a technique using strong contrasts of light and shadow to model forms and create dramatic volume, associated with Leonardo and Caravaggio.

Tenebrism

An extreme form of chiaroscuro with a dark background and sharply illuminated figures, pioneered by Caravaggio and adopted by Baroque painters across Europe.

Ukiyo-e

Japanese woodblock prints depicting kabuki actors, courtesans, and landscapes; their flat color and asymmetrical composition strongly influenced nineteenth-century European Impressionism.

Cubism

An early twentieth-century movement led by Picasso and Braque that fractured subjects into geometric planes and showed multiple viewpoints simultaneously, often in muted brown and gray tones.

Readymade

Marcel Duchamp's term for ordinary manufactured objects, such as a urinal or bottle rack, presented as art to challenge definitions of authorship and aesthetic value.

Byzantine art

Christian art of the Eastern Roman Empire characterized by gold backgrounds, frontal figures, elongated proportions, and icon painting intended for devotional use.

Gothic stained glass

Medieval church windows made from colored glass joined by lead cames; rose windows and tall lancets taught biblical stories and filled interiors with colored light.

Feldman art criticism model

A four-stage sequence-description, analysis, interpretation, and judgment-that moves from observable facts to meaning and then to supported evaluation of an artwork.

Formalist aesthetics

The view that artistic value resides in formal qualities such as line, color, balance, and composition rather than in subject matter, emotion, or social function; Clement Greenberg championed it.

Mimetic theory of art

The ancient view that art imitates or represents nature and human experience; Plato and Aristotle discussed art as mimesis, though they judged its value differently.

Expressive theory of art

The view that art's primary purpose is to express the artist's emotions or inner experience, and that works are judged by emotional authenticity and communicative power.

Institutional theory of art

Arthur Danto and George Dickie argued that something becomes art when the artworld-artists, critics, galleries, museums, and institutions-confers that status upon it.

Nonobjective art

Artwork with no recognizable subject matter, composed entirely of colors, shapes, lines, and textures; also called nonrepresentational or pure abstraction.

Art criticism judgment

The final Feldman stage, in which a viewer evaluates an artwork using stated criteria such as craftsmanship, design quality, originality, and expressive impact, supported by evidence.

National Core Arts Standards

K–12 arts standards organized around four artistic processes-Creating, Performing/Presenting/Producing, Responding, and Connecting-with grade-level performance indicators for dance, media arts, music, theater, and visual arts.

Backward design

Wiggins and McTighe's planning model: identify desired results, determine acceptable evidence, then design learning experiences; it aligns instruction and assessment with enduring understandings.

Formative assessment

Ongoing, low-stakes checks during instruction-such as critiques, exit tickets, and sketches-used to adjust teaching and give students feedback before final evaluation.

Summative assessment

Evaluation at the end of a unit or course, such as a portfolio review, project rubric, or exam, that measures achievement against learning goals.

DBAE

Discipline-Based Art Education, a curriculum approach integrating art production, art history, art criticism, and aesthetics into a balanced, sequential program.

Analytic rubric

A scoring guide that evaluates separate criteria-such as composition, craftsmanship, originality, and reflection-independently, often with point levels, giving detailed feedback.

Teaching for Artistic Behavior

A choice-based pedagogy in which the art room is organized as a studio; students select their own subjects, media, and processes while teachers provide demonstrations and structure.