Tag Archives: art/architecture/design

Minaret

“A tall, slender tower attached to a mosque and from which the muezzin calls people to prayer from one of its several balconies. It may be either rectangular or cylindrical in plan. Seville’s Giralda tower (12th century) was once a minaret, later redecorated in Christian styles.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Independent Practice: Albrecht Durer

If memory serves, I whipped up this independent practice worksheet on Albrecht Durer at a student’s request. I don’t think he ever turned up in the global studies courses I co-taught in New York, even as a representative figure of the Northern Renaissance–which of course he is.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Jugendstil (n)

“The German term for the style known elsewhere as Art Nouveau. Named after the unofficial organ of the movement in Germany, Jugend, founded in 1896.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Abstract Expressionism

“An umbrella term which refers to that direction in abstract art characterized by spontaneous and individual abstract expression in a non-objective manner. While the term was first applied to certain of Vassily Kandinsky’s early experimental paintings, it mostly refers to artists working in the 1940s and 1950s, including Willem de Kooning and Jackson Pollock. Sharing a similar outlook rather than a style, these artists sought total freedom for psychic expression on the canvas. Believed by some to be the first truly American art, the movement is also called the New York School because its international center was New York City. The influence of abstract expressionism extended into the 1970s with Lyrical Abstraction.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Abstract Art

“Art in which elements of form have been stressed in handling the subject matter–which may or may not be recognizable. Abstraction is a relative term; all artworks exist on a continuum between total abstraction and full representation. Vassily Kandinsky is generally credited with having created the first purely abstract artwork in 1910.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Churrigueresque

Churrigueresque (adj): A 17th-century Spanish architectural style named after the Churriguera family of architects and designers. The influence of sculpture most characterizes the style, as structural elements become mere props for ornament. While the style predominates in Castile, the term often refers to the florid, late Baroque architecture of Spain and Latin America.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Orphism

“An aspect of Cubism, sometimes called Orphic Cubism, explored by Robert Delaunay beginning about 1912. The primacy of color and color relationships in the making of the picture was the keynote, although Delaunay himself alternated during this phase between pure Abstraction and quasi-Representational forms.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Francisco de Goya

Somewhere in the shuffle of documents for posts in celebration of Hispanic Heritage Month 2018 (and those for 2016 and 2017 as well) l misplaced this reading on Francisco de Goya and the comprehension worksheet that complements it. He’s a key late-Enlightenment figure, and this reading has some key points on art history.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Diego Rivera on the Artist and His Subject

“The subject is to the painter what the rails are to the locomotive. He cannot do without it. In fact, when he refuses to seek or accept a subject, his own plastic methods and his own esthetic theories become his subject instead. And even if he escapes them, he himself becomes the subject of his work. He becomes nothing but an illustrator of his own state of mind, and in trying to liberate himself he falls into the worst sort of slavery.”

Excerpted from: Shapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.

Calvin, to Hobbes, on Extraterrestrial Contact

“Sometimes I think the surest sign that intelligent life exists elsewhere in the universe is that none of it has tried to contact us.”

Bill Watterson, Calvin and Hobbes (comic strip), 8 Nov. 1989

Excerpted from: Shapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.