Arts & Humanities Cheat-sheet
EAST CARTER HIGH SCHOOL
Arts & Humanities “Cheat-sheet”
|Visual Arts |
|Concept: |What is it? |
|Elements of Art |Line, Shape, Form, Texture, Space (perspective), Color* (light, color theory* & color |
| |schemes), Value & Intensity |
|Principles of Design |Balance, Movement, Rhythm, Contrast & Variety, Emphasis & Proportion, Unity, Pattern & |
| |Repetition |
|Media (two-dimensional) |Paint, Chalk, Charcoal, Graphite, Fabric, Yarn, Paper, Ink, Pastel, Fiber, Photography, |
| |Computer-generated design/image, |
|Media (three-dimensional) |Clay, Wood, Glass, Metal, Stone, Plaster |
|Art Processes (two-dimensional) |Drawing, Painting, Fiber Art, Print-making, Animation, Photography, Graphic Design, |
| |Computer-generated design/imaging |
|Art Processes (three-dimensional) |Textiles, Fiber Art, Ceramics, Sculpture, Architecture |
|Subject Matter |Representational – portrait, still-life, scape |
| |Non-representational – abstract, non-objective |
|Purposes for Art |Ceremonial – ritual, celebration, worship |
| |Expression – communicate emotions, feelings, beliefs, ideas |
| |Narrative – tell stories, both historical & fictional |
| |Functional – objects used in everyday life |
| |Persuasive – promote ideas, philosophies, or products |
| |Lascaux Cave – Lascaux, France |
|Art History (Pre-History-Ancient Greece) |“Los Manos” - Cave – Latin America |
| |Stonehenge – England |
| |Ancient Sumeria: |
| |Tell Asmar Statues |
| |Sandstone Carving – King Hammurabi |
| |Cuneiform |
| | |
| |Ancient Egypt: |
| |The Great Sphinx |
| |Pyramids of Giza |
| |Burial Mask of Tutankhamun |
| |Bust of Nefertiti |
| |Hieroglyphics |
| | |
| |Ancient Greece: |
| |The Acropolis (architecture) – Athens, Greece |
| |Discus Thrower – Myron |
| |Kore Statues |
| |Venus de Milo |
| |Nike of Samothrace – “Winged Victory” |
| | |
| |Middle Eastern: |
| |Judaism |
| |Temple of Solomon (architecture) |
| |Roman Empire: |
|Art History (Roman Empire-Medieval Era) |Christianity |
| | |
| |Middle Eastern: |
| |Islam |
| |Temple architecture – “Dome of the Rock” – Jerusalem |
| |Arabesques |
| |Minaret |
| | |
| |Asian: |
| |Hindu – Pampapati Temple |
| |Taj Mahal |
| |Buddhist – Liurong Temple |
| |Pagoda |
| |Stupa |
| |Chinese & Japanese printmaking, ink & brush paintings, calligraphy |
| |Atmospheric perspective vs. linear perspective |
|Art History (Renaissance, Baroque, Roccoco, & Neo-classical) |Jan Van Eyck – Mariage of Arnolfini |
| |Leonardo Da Vinci – paintings: “Mona Lisa” “The Last Supper” |
| |Michelangelo – sculpture: “David” “The Slaves” painting – Sistine Chapel |
| |architecture – techniques of ancient Greeks & Romans (arch, vault, dome, stress & |
| |counter stress, atrium-style houses) |
| | |
| |Baroque: |
| |Trompe l’oeuil |
| |Rembrandt (Dutch) – chiaroscuro |
| |Vermeer (Dutch) |
| |Carravaggio (Italian) |
| | |
| |Roccoco (late Baroque): |
| |Developed in France |
| |Ornate, pastel colors |
| |Playful, witty themes |
| | |
| |Neo-classical: |
| |Jacques Louis David (French) – French Revolution |
| |Thomas Jefferson (American) – architecture, ideas from newly independent USA |
| |Romanticism: |
|Art History (Romanticism, Realism, & |John Constable – British Landscapes |
|Impressionism/Post-Impressionism) |Francisco Goya – Spanish court painter, examined violence, greed, & foolishness of |
| |society |
| | |
| |Realism: |
| |Gustave Corbet – attention on common man |
| |Edouard Manet – industrial age city & people, bridged age between Realism & |
| |Impressionism |
| | |
| |Impressionism: |
| |Claude Monet – capture light as a moment of time |
| |Vincent Van Gogh – bright colors & line to express emotions and movement |
| |Mary Cassatt – domestic social scenes of women & children |
| |Edgar Degas – paintings of ballerinas |
| |George Seurat – pointillism |
| |Pierre Auguste Renoir |
| |Paul Gauguin |
| |Auguste Rodin – sculptor |
| | |
| |Post-Impressionism: |
| |Henri Toulouse-Lautrec – paintings, posters advertising products & businesses around |
| |Paris |
|Art History (Modern & Contemporary European Art) |Salvador Dali – surrealism |
| |Pablo Picasso – cubism |
| |M.C. Escher – famous for his tessellations* |
| |René Magritte & Henri Matisse |
|Art History (Modern & Contemporary American Art) |Georgia O’Keefe – large abstractions of natural forms |
| |Frank Lloyd Wright – architecture |
| |Dorothea Lange – photographs of the Great Depression |
| |Ansel Adams – photographs of Western American landscapes & nature |
| |Alfred Steiglitz – photography |
| |Andy Warhol – Pop Art (Celebrities & mass production) |
| |Jackson Pollock |
| |Jacob Lawrence – paintings that reflect the African-American experience |
|Music |
|Concept: |What is it? |
|Elements of Music |Rhythm – beat or pulse of music |
| |Melody – Organized pitches |
| |Form – structure of the composition |
| |Timbre – tone color (why people’s voices sound different, same thing with instruments) |
| |Harmony – more then one pitch at a time |
| |Tempo – speed of the composition |
| |Dynamics – loud and softness of a composition |
|Purposes of Music |Ceremonial – music created or performed for rituals or celebrations. |
| |Recreational – music for entertainment |
| |Artistic expression – music created with the intent to express or communicate one’s |
| |emotions, feelings, ideas, experience |
|Music History (Renaissance, Baroque, & Classical) |Renaissance – Palestrina, polyphony & counterpoint, new form of musical entertainment: |
| |the opera |
| |Baroque – Bach/Fugue, Handel/oratorio |
| |Classical – Mozart & Hayden, Beethoven transitions to next time period |
|Music History (Romanticism) |Tchaikovsky/Ballet |
| |Wagner/Opera |
|Music History (20th Century) |20th Century – Impressionism/Post-Impressionism, Debussy, Ravel-symbolism in music |
|Music History (Modern & Contemporary) |Modern – Stravinsky-influence on Russian Ballet |
| |Contemporary – Gershwin – jazz in classical musical forms; Copland – integrated national |
| |American idioms into his music; Ellington – led and shaped jazz styles in American music.|
|Drama |
|Concept: |What is it? |
|Elements of Drama |Literary – plot (exposition, character, setting, conflict, rising action, suspense, |
| |climax, falling action, denouement or resolution, conclusion), theme, language & style, |
| |dialogue, stage directions |
| |Technical – scenery, sound, lighting, props, make-up, costumes |
| |Production/Performance – acting, character analysis, empathy, breath control, projection,|
| |verbal expression, non-verbal expression, blocking |
|Purposes of Drama |Share the human experience – to create social change, to express or communicate universal|
| |themes, to interpret information, ideas, and emotions |
| |Pass on tradition and culture – narratives, storytelling, folktales, religious rituals |
| |and ceremony, worship |
| |Recreational – for fun and entertainment of an audience, an escape from reality |
| |Artistic expression – to show off one’s talents and express oneself creatively through |
| |the interpretation of a role and the production of a well-known play or dramatic work |
|Drama History (Ancient Egypt & Ancient Greece) – 2600 B.C.-100s |Ancient Egypt (2600-1000s B.C.): |
|B.C. |Passion plays telling stories of Egyptian gods and pharaohs |
| | |
| |Ancient Greece (1200-100s B.C.): |
| |Held festivals in honor of Greek gods and goddesses with dance and music competitions |
| |that eventually evolved into theatrical competitions |
| |Two types of plays – tragedies and comedies |
| |Important Greek playwrights: |
| |Sophocles |
| |Aeschylus |
| |Euripedes |
| |Aristophanes |
| |Menander |
|Drama History (Roman, Medieval, & Japanese) – 500s B.C.-1600s |Roman Theatre (400 B.C.-100s B.C.): |
| |Copied stories from the Greeks, most plays were lewd comedies, historians refer to this |
| |period as the decline of theatre |
| |Roman playwrights: |
| |Plautus |
| |Terence |
| | |
| |Medieval Theatre (1100-1500s): |
| |Heavily restricted and almost outlawed by the Catholic Church until towards the end of |
| |the Middle Ages when the Church began to use drama as a means for worship |
| |Mystery plays – drama depicting scenes and events from the life of Jesus taken directly |
| |from scripture |
| |Miracle plays – dramas that portrayed the lives of saints and martyrs |
| |Morality plays – drama that used allegorical characters to portray the soul’s struggle to|
| |achieve salvation (important morality play: Everyman) |
|Drama History (Renaissance & Neo-classicism) – 1500–1600s |Renaissance (1500-early 1600s): |
| |Commedia dell’arte – troupes of actors began roaming on wagons from city to city, |
| |transforming their wagons into stages and performing in town squares for the |
| |entertainment of the general public, utilized “stock” characters or general character |
| |types |
| |Under the reign of Queen Elizabeth II, English society flourished, especially the |
| |theatrical arts |
| |By 1576, began building great theatre houses in and around London: The Swan Theatre & The|
| |Globe Theatre |
| |William Shakespeare (1564-1616) – important English playwright, wrote many important |
| |sonnets and plays, to name a few: Hamlet, The Tragedy of Romeo and Juliette, Macbeth, |
| |Much Ado About Nothing, A Midsummer Night’s Dream |
| | |
| |Neo-classicism (correlates to baroque in music and visual arts): |
| |Followed the rules of classical drama as set forth by Aristotle in his work The Poetics |
| |French tragedian playwrights: |
| |Pierre Corneille (1606-1684) – most famous play, Le Cid (1635) |
| |Jean Racine (1639-1699) – most famous play, Phèdre (1677) |
| |Molière (1622-1673) – French playwright commissioned by King Louis XIV to write and |
| |perform comedies for his court, famous for his use of satire, wrote many famous plays, to|
| |name a few: The Imaginary Invalid, Tartuffe, The Misanthrope, The Bourgeois Gentleman |
|Drama History (Romanticism & Realism) – 1700- early 1900s |Romanticism (1700-1800s): |
| |Heavy use of melodrama, began to use music to heighten the emotional experience of |
| |theatre-goers |
| |First American drama to receive a professional performance – The Prince of Parthia (1765)|
| |by American Thomas Godfrey |
| |Uncle Tom’s Cabin – play adaptation of the book (1852) by Harriet Beecher Stowe |
| | |
| |Realism (1860-early 1900s): |
| |Stern break from melodrama to focusing on the real, and often darker side of life (more |
| |tragedy and sadness), emphasis on “truthful portrayal” of real life |
| |Henrik Ibsen (1828-1906) – “master of realist drama” his plays were often very |
| |controversial because of unflinching subject matter that was often considered “taboo” by |
| |Victorian society; important plays A Doll’s House (1879) and Hedda Gabler (1890) |
| |Anton Chekhov (1860-1904) – famous play, Uncle Vanya (1897) |
| |George Bernard Shaw (1856-1950) – famous plays include Man and Superman (1903), Pygmalion|
| |(1912), and Heartbreak House (1919) |
|Drama History (Modern & Contemporary) – 1800-1900s |Difference between “opera” and a “musical” – in opera all dialogue from beginning to end |
| |is sung, in a musical you have a mixture of spoken and sung lines of dialogue as well as |
| |dancing |
| |Some famous operas: |
| |Carmen (1875) by Georges Bizet |
| |The Marriage of Figaro (1786), Don Giovanni (1788), and The Magic Flute (1791) by Wolgang|
| |Amadeus Mozart |
| |La bohème (1896) and Tosca (1900) by Giacomo Puccini |
| | |
| |Operetta – means “little opera”; more like a musical in that there is both spoken and |
| |sung lines |
| |Famous operetta writers and composers: |
| |Franz Lehar – The Merry Widow (1905) |
| |W.S. Gilbert & Arthur Sullivan –H.M.S. Pinafore (1878), The Pirates of Penzance (1879), |
| |Iolanthe (1882), and The Mikado (1885) |
| | |
| |Musical theatre – style of theatre that evolved from the operetta form as well as |
| |“vaudeville” and “minstrel shows”; brings together all four art forms; music, dance, |
| |visual art, and drama |
| |Important American composers & playwrights of musicals: |
| |Rogers & Hammerstein – well-known for musicals such as Oklahoma! (1943), South Pacific |
| |(1949), The King and I (1951), and The Sound of Music (1959) |
| |Irving Berlin – well known for composing songs for musicals such as Annie Get Your Gun! |
| |(1946) |
| |Steven Sondheim – well known for composing songs for West Side Story (1957), Gypsy |
| |(1959), and Sweeney Todd (1979) |
| | |
| |Other important musicals: |
| |Show Boat (1927) |
| |Of Thee I Sing (1931) |
| |Porgy and Bess (1935) |
| |Guys and Dolls (1950) |
| |My Fair Lady (1956) |
| |The Music Man (1957) |
| |Fiddler on the Roof (1964) |
| |Hello Dolly! (1964) |
| |Grease (1971) |
| |Jesus Christ Superstar (1971) |
| |A Chorus Line (1975) |
| |Annie (1977) |
| |Evita (1979) |
| |42nd Street (1980) |
| |Cats (1981) |
| |The Phantom of the Opera (1986) |
| |Rent (1996) |
| | |
| |“Théâtre de l’absurde” – “Theatre of the absurd” – movement in drama in the 1950s and |
| |1960s, started in France, regarded as a response to the horrors of World War II |
| | |
| |Important playwrights and plays from this movement: |
| |Eugène Ionesco (1909-1994, French) – *The Bald Soprano (1950), *The Lesson (1951), *The |
| |Chairs (1952), Rhinoceros (1959) (*use of non-sequiturs) |
| |Samuel Beckett (1906-1989, Irish, lived in France) – Waiting for Godot (1953) |
| | |
| |Other important playwrights and plays: |
| |Tennessee Williams – The Glass Menagerie (1945), A Streetcar Named Desire (1947) |
| |Arthur Miller – Death of a Salesman (1949), *The Crucible (1953) |
| | |
| | |
| | |
| | |
| |William Inge – Come Back, Little Sheba (1950), Picnic (1953), and Bus Stop (1955) |
| |Lorainne Hansberry – first African-American woman to have a play that she wrote produced |
| |on Broadway, 1959’s A Raisin in the Sun |
| |August Wilson – another African-American playwright, wrote Ma Rainey’s Black Bottom |
| |(1984), won a Pulitzer Prize for Fences (1987), and The Piano Lesson (1990) |
| |Neil Simon – wrote memorable comedic plays, the autobiographical trilogy Brighton Beach |
| |Memoirs (1983), Biloxi Blues (1985), and Broadway Bound (1986), also Barefoot in the Park|
| |(1963), The Odd Couple (1965), Plaza Suite (1968), and Lost in Yonkers (1991) |
|Dance |
|Concept: |What is it? |
|Elements of Dance |Time – beat/rhythm of dance |
| |Space – type of space to be used (personal and/or general) |
| |Force (Effort) – the amount of emotion put into a dance (mental effort means they do they|
| |dance because they have to participate for a grade, emotional effort means they put extra|
| |effort into the dance) |
|Choreographic Form |AB |
| |ABA |
|*If you are interested in doing some form of dance for your class|Rondo |
|let me know and I will help you match it to the correct |Call and Response |
|choreographic form. |Theme and Variation (Perfect for ELA class, poetry) |
| |Narrative |
|Purposes of Dance |Ceremonial – dance created or performed for rituals or celebrations. |
| |Recreational – dance for entertainment |
| |Artistic - dance created with the intent to express or communicate one’s emotions, |
| |feelings, ideas, experience |
|Below is a timeline for the history of dance. The basic understanding of society in the time period, influence of geographic location and philosophical |
|beliefs of each historical period is necessary to meet the standard. |
|Ancient and Lineage-Based Cultures |Ritual Dance |
| |Native American Dances (Zuni people and Harvest Dance) |
| |West Africa Culture and dance |
| |African American Dance (Follow the Drinking Gourd) |
|Medieval Period |Christian faith and reason. |
| |Importance of religion appealing to emotions. |
| | |
| |Tarantella Dance |
|Renaissance Period |Reconciles Christian faith and reason. |
| |Promotes "rebirth" of the classical ideal. New freedom of thought. |
| | |
| |Court Dance. |
|Baroque Period |Rejects limitations of previous styles. |
| |Restores power of Monarchy/church. |
| | |
| |Louis XIV |
| |Ballet |
|Romanticism |Revolts against neo-classical order and reason. |
| |Return to Nature/imagination. |
| |Interest in the Exotic and supernatural. |
| | |
| |Ballroom Dancing |
|Realism |Seeks the truth. |
| |Finds beauty in the commonplace. |
| | |
| |Folk and Social Dance |
|Modern and Contemporary |Breaks with or re-defines conventions of the past. |
| |Uses experimental techniques. |
| |Harlem Renaissance. |
| | |
| |Dance – twist, break, punk, modern ballet |
| | |
|Influential People |Fokine, Balanchine, Baryshnikov (Ballet) |
| |Martha Graham and Alvin Ailey (Modern) |
-----------------------
*cross-over with Science!
*cross-over with Math!
*wrote this play as a social commentary or as an allegory for what was happening with McCarthyism and “The Red Scare”)
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