visual purple: see vision.

visual magnitude: see magnitude.

visual flight regulations: see air navigation.

visual education: see audiovisual education.

visual binary: see binary star.

Organ that receives light and visual images. Non-image forming, or direction, eyes are found among worms, mollusks, cnidarians, echinoderms, and other invertebrates; image-forming eyes are found in certain mollusks, most arthropods, and nearly all vertebrates. Arthropods are unique in possessing a compound eye, which results in their seeing a multiple image that is partially integrated in the brain. Lower vertebrates such as fish have eyes on either side of the head, allowing a maximum view of the surroundings but producing two separate fields of vision. In predatory birds and mammals, binocular vision became more important. Evolutionary changes in the placement of the eyes permitted a larger overlap of the two visual fields, resulting in the higher mammals in a parallel line of direct sight. The human eye is roughly spherical. Light passes through its transparent front and stimulates receptor cells on the retina (cones for colour vision, rods for black-and-white vision in faint light), which in turn send impulses through the optic nerve to the brain. Vision disorders include near- and farsightedness and astigmatism (correctable with eyeglasses or contact lenses), colour blindness, and night blindness. Other eye disorders (including detached retina and glaucoma) can cause visual-field defects or blindness. Seealso ophthalmology; photoreception.

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Superstition holding that a glance can cause injury or death to those on whom it falls. The belief was found in ancient Greece and Rome as well as in folk cultures around the world, and it has persisted into modern times. Children and animals are believed to be particularly vulnerable. The evil eye is often thought to stem from envy and malice toward prosperity and beauty, and thus in many cultures unguarded praise of one's possessions or children is thought to invite misfortune. Safeguards include amulets, charms, and sacred texts; in Asia children may have their faces blackened for protection.

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Any of several gemstones that display a luminous band reminiscent of the eye of a cat. Grayish green or greenish quartz cat's-eye is the most common type; although it comes from the Orient, it is often called occidental cat's-eye to differentiate it from the rarer, and more valuable, precious or oriental cat's-eye, which is a greenish variety of chrysoberyl. Crocidolite cat's-eye (African cat's-eye) is more commonly known as tigereye. Corundum cat's-eye is an imperfect star sapphire or ruby in which the star is reduced to a luminous zone.

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Painting of a large eye or eyes used to ward off evil. The symbol appears most commonly on Greek drinking vessels from the 6th century BC and was perhaps thought to keep dangerous spirits from entering the mouth with the wine. It is also used in Turkish and Egyptian art.

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or visual purple

Light-sensitive, purple-red organic pigment contained in the rod cells of the retina that allows the eye to see in black and white in dim light. It is composed of opsin, a protein, linked to retinal, a conjugated molecule (see conjugation) formed from vitamin A. Photons of light that enter the eye are absorbed by retinal and cause it to change its configuration, starting a biochemical chain of events that ends with impulses being sent along the optic nerve to the brain. In bright light, to protect rod cells from overstimulation, rhodopsin breaks down into retinal and opsin, both of which are colourless. In dim light or darkness the process is reversed (dark adaptation), and purple-red rhodopsin is reformed. Similar light-sensitive compounds made of retinal and other opsin proteins are the pigments in the retina's cone cells responsible for colour vision in bright light.

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The art and profession of selecting and arranging visual elements—such as typography, images, symbols, and colours—to convey a message to an audience. Sometimes graphic design is called “visual communications.” It is a collaborative discipline: writers produce words and photographers and illustrators create images that the designer incorporates into a complete visual message. Although graphic design has been practiced in various forms throughout history, it emerged as a specific profession during the job-specialization process that occurred in the late 19th century. Its evolution has been closely bound to developments in image making, typography, and reproduction processes. Prominent graphic designers include Jules Chéret, Piet Zwart, Paul Rand, Alexey Brodovitch, Milton Glaser, and David Carson.

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Art form that arose in Europe and the U.S. in the 1960s. The term describes an art that is live but operates outside the traditional conventions of theatre or music. Early examples represented a challenge to orthodox art forms and cultural norms by creating an ephemeral art experience that could not be captured or purchased. By the 1970s performance art was used as a general term to describe a multitude of activities, including happenings, body art, actions, events, and non-matrix theatre. Prominent performance artists have included Joseph Beuys, John Cage, Dennis Oppenheim, Yoko Ono, Nam June Paik, Meredith Monk, and Laurie Anderson.

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also called outsider art

Work of artists in sophisticated societies who lack or reject formal training. Naive artists, not to be confused with hobbyists, create with the same passion as trained artists but without formal knowledge of methods. Naive works are often extremely detailed, with a tendency toward the use of brilliant, saturated colours and a characteristic absence of perspective, which creates the illusion of figures floating in space. Well-known naive artists include Henri Rousseau and Grandma Moses.

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Any of several arts of combat and self-defense that are widely practiced as sport. There are armed and unarmed varieties, most based on traditional fighting methods used in East Asia. In modern times, derivatives of armed martial arts include kendo (fencing with wooden swords) and kyudo (archery). Unarmed varieties include aikido, judo, karate, kung fu, and tae kwon do. Because of the influence of Taoism and Zen Buddhism, there is a strong emphasis in all the martial arts on the practitioner's mental and spiritual state. A hierarchy of expertise, ranging from the novice (“white belt”) to the master (“black belt”), is usually recognized. Seealso t'ai chi ch'uan; jujitsu.

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Art produced in a traditional fashion by peasants, seamen, country artisans, or tradespeople with no formal training, or by members of a social or ethnic group that has preserved its traditional culture. It is predominantly functional, typically produced by hand for use by the maker or by a small group or community. Paintings are usually incorporated as decorative features on clock faces, chests, chairs, and interior and exterior walls. Sculptural objects in wood, stone, and metal include toys, spoons, candlesticks, and religious items. Folk architecture may include public and residential buildings, such as eastern European wooden churches and U.S. frontier log cabins. Other examples of visual folk arts are woodcuts, scrimshaw, pottery, textiles, and traditional clothing.

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Any of various art forms in which the idea for a work of art is considered more important than the finished product. The theory was explored by Marcel Duchamp from circa 1910, but the term was coined in the late 1950s by Edward Kienholz. In the 1960s and '70s it became a major international movement; its leading exponents were Sol LeWitt (b. 1928) and Joseph Kosuth (b. 1945). Its adherents radically redefined art objects, materials, and techniques, and began questioning the very existence and use of art. Its claim is that the “true” work of art is not a physical object produced by the artist for exhibition or sale, but rather consists of “concepts” or “ideas.” Typical conceptual works include photographs, texts, maps, graphs, and image-text combinations that are deliberately rendered visually uninteresting or trivial in order to divert attention to the “ideas” they express. Its manifestations have been extremely diverse; a well-known example is Kosuth's One and Three Chairs (1965), which combines a real chair, a photograph of a chair, and a dictionary definition of “chair.” Conceptual art was fundamental to much of the art produced in the late 20th century.

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Historical study of the visual arts for the purpose of identifying, describing, evaluating, interpreting, and understanding art objects and artistic traditions. Art-historical research involves discovering and collecting biographical data on artists to establish attribution; determining at what stage in a culture's or artist's development an object was made; weighing the influence the object or artist had on the historical past; and documenting an object's previous whereabouts or ownership (provenance). The analysis of symbols, themes, and subject matter is often of primary concern. In the 20th and 21st centuries art historians became increasingly concerned with the social and cultural context of artists and their work.

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Maintenance and preservation of works of art, their protection from future damage, deterioration, or neglect, and the repair or renovation of works that have deteriorated or been damaged. Research in art history has relied heavily on 20th- and 21st-century technical and scientific advances in art restoration. Modern conservation practice adheres to the principle of reversibility, which dictates that treatments should not cause permanent alteration to the object.

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Works of art accumulated by an individual or institution. Such collections were made in the earliest civilizations; precious objects were stored in temples, tombs, sanctuaries, and palaces. A taste for collecting per se developed in Greece (4th–1st century BC). The great art collections of the world grew out of private collections formed by royalty, aristocracy, and the wealthy. By the 18th century, collectors were donating their holdings to the public and constructing buildings to house them (e.g., the Louvre Museum, Uffizi Gallery). Wealthy industrialists in the U.S. played a prominent role in the 19th–20th century, and an unprecedented flow of masterpieces from Europe soon filled U.S. museums.

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art brut(French; “raw art”)

Art produced by people outside the established art world, particularly crude, inexperienced, or obscene works created by the untrained or the mentally ill. The term was coined by Jean Dubuffet, who regarded such works as the purest form of expression. Seealso naive art.

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also called visual art

A visual object or experience consciously created through an expression of skill or imagination. The term art encompasses diverse media such as painting, sculpture, printmaking, drawing, decorative arts, photography, and installation. The various visual arts exist within a continuum that ranges from purely aesthetic purposes at one end to purely utilitarian purposes at the other. This should by no means be taken as a rigid scheme, however, particularly in cultures in which everyday objects are painstakingly constructed and imbued with meaning. Particularly in the 20th century, debates arose over the definition of art. Figures such as Dada artist Marcel Duchamp implied that it is enough for an artist to deem something “art” and put it in a publicly accepted venue. Such intellectual experimentation continued throughout the 20th century in movements such as conceptual art and Minimalism. By the turn of the 21st century, a variety of new media (e.g., video art) further challenged traditional definitions of art. See aesthetics; art conservation and restoration; drawing; painting; printmaking; sculpture; photography; decorative arts.

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or nonobjective art or nonrepresentational art

Art, including painting, sculpture, and graphic art, that does not represent recognizable objects. In the late 19th century the traditional European conception of art as the imitation of nature was abandoned in favour of the imagination and the unconscious. Abstraction developed in the early 20th century with such movements as Fauvism, Expressionism, Cubism, and Futurism. Vasily Kandinsky is credited as the first modern artist to paint purely abstract pictures, circa 1910. Piet Mondrian's De Stijl group in The Netherlands widened the spectrum circa 1915–20. Abstraction continued to flourish between the two world wars, and after the 1930s it was the most characteristic feature of Western art. After World War II, Abstract Expressionism emerged in the U.S. and had a great influence on European and American painting and sculpture. By the turn of the 21st century, artistic output was varied, with abstract art prominent alongside figurative and conceptual work.

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(born Oct. 13, 1909, Toledo, Ohio, U.S.—died Nov. 5, 1956, Los Angeles, Calif.) U.S. jazz pianist. Tatum was blind from birth. Influenced by Fats Waller and Earl Hines, his playing represents a synthesis of stride and swing piano traditions. He developed an unprecedented technical and harmonic control on the instrument and was capable of astonishing speed and intricate elaborations of melody. By 1937 he was recognized as the outstanding pianist in jazz. He formed a trio with guitar and bass in 1943 but frequently made solo performances that showcased his unique mastery.

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Painting, sculpture, and other visual arts produced during the reigns of the German Ottonian emperors and their first successors from the Salic house (950–1050). Though it drew on the heritage of Carolingian art, it developed a style of its own, particularly in painting and sculpture. Manuscript illuminators of the period were less concerned with naturalism than with expression through sober, dramatic gesture and a heightened use of colour. Ottonian large-scale wooden crucifixes and wooden reliquaries covered with gold leaf marked a return to sculpture in the round. Bronze casting, an antique art practiced by the Carolingians, flourished as well. Ottonian architecture was more regulated than Carolingian, with simple interior spaces and a more systematic layout. Ottonian architects provided impetus for the monumentality of Romanesque architecture.

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or Optical art

Branch of mid-20th-century geometric abstract art that deals with optical illusion. Op art painters devised complex optical spaces by manipulating repetitive forms such as parallel lines, checkerboard patterns, and concentric circles or by creating chromatic tension from the juxtaposition of complementary colours, thereby creating the illusion of movement. Principal artists of the Op movement in the late 1950s and the '60s include Victor Vasarely, Bridget Riley (b. 1931), and Larry Poons (b. 1937).

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Museum in Washington, D.C., part of the Smithsonian Institution. It was founded in 1937 when Andrew W. Mellon donated his collection of European paintings to the U.S. He also donated funds to construct the gallery's Neoclassical building, opened in 1941. Now known as the West Building, it is connected by plaza and underground concourse to the East Building, designed by I.M. Pei (completed 1978). The museum houses an extensive collection of U.S. and European paintings, sculpture, decorative arts, and graphic arts from the 12th to 21st centuries; especially well represented are works by Italian Renaissance, 17th-century Dutch, and 18th- and 19th-century French artists.

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Museum in New York City, the world's most comprehensive collection of U.S. and European art from the late 19th century to the present. It was founded in 1929 by a group of private collectors. The original building on 53rd St. opened in 1939; a later addition and sculpture garden were designed by Philip Johnson (1953). A condominium tower and western wing, doubling the exhibition space, were completed in 1984. Its collections of Cubist, Surrealist, and Abstract Expressionist paintings are extensive; other holdings include sculpture, graphic arts, industrial design, architecture, photography, and film. Through its permanent collections, exhibitions, and many publications, it exerts a strong influence on public taste and artistic production.

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Most comprehensive collection of art in the U.S. and one of the foremost in the world. It was incorporated in New York City in 1870, and the present building in Central Park on Fifth Avenue was opened in 1880. The Metropolitan was built with the private fortunes of businessmen; today it is owned by the city but supported mainly by private endowment. Its outstanding Egyptian, Mesopotamian, East Asian, Middle Eastern, Greek and Roman, European, pre-Columbian, and U.S. collections include—in addition to paintings, sculpture, and graphic arts—architecture, glass, ceramics, textiles, metalwork, furniture, arms and armour, and musical instruments. It also incorporates a Costume Institute and the Thomas J. Watson Library, one of the world's greatest art and archaeology reference collections. Much of the medieval collection is housed at The Cloisters in Manhattan's Fort Tryon Park; its building (1938) incorporates parts of medieval monasteries and churches.

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Ancient sculptures, paintings, and decorative crafts produced in the dynastic periods of the 3rd–1st millennia BC in the Nile Valley of Egypt and Nubia. Egyptian art served those in power as a forceful propaganda instrument that perpetuated the existing framework of society. Much of what has survived is associated with ancient tombs. The course of art in Egypt paralleled the country's political history and is divided into three periods: Old Kingdom (circa 2700–circa 2150 BC), Middle Kingdom (circa 2000–circa 1670 BC), and New Kingdom (circa 1550–circa 1070 BC). The Old Kingdom's stone tombs and temples were decorated with vigorous and brightly painted reliefs illustrating the daily life of the people. Rules for portraying the human figure were established, specifying proportions, postures, and placement of details, often linked to the subjects' social standing. An artistic decline at the end of the Old Kingdom led to a revival in the more stable political climate of the Middle Kingdom, notable for its expressive portrait sculptures of kings and its excellent relief sculptures and painting. The New Kingdom brought a magnificent flowering of the arts; great granite statues and wall reliefs glorified rulers and gods, painting became an independent art, and the decorative crafts reached new peaks, the treasure of Tutankhamen's tomb typifying the variety of luxury items created. Seealso Egyptian architecture.

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Museum in Chicago that houses European, American, Asian, African, and pre-Columbian art. It was established in 1866 as the Chicago Academy of Design and took its current name in 1882. In 1893 it moved to its present building, designed by the architectural firm of Shepley, Rutan, and Coolidge for the World's Columbian Exposition, on Michigan Avenue. The Art Institute, which comprises both a museum and a school, is noted for its extensive collections of 19th-century French painting (Impressionist works and the work of Claude Monet in particular) and 20th-century European and American painting. Among its best-known works are Georges Seurat's A Sunday Afternoon on La Grand Jatte—1884 (1884–86), Grant Wood's American Gothic (1930), and Edward Hopper's Nighthawks (1942).

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or Style Moderne

Movement in design, interior decoration, and architecture in the 1920s and '30s in Europe and the U.S. The name derives from the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris in 1925. Its products included both individually crafted luxury items and mass-produced wares, but, in either case, the intention was to create a sleek and antitraditional elegance that symbolized wealth and sophistication. Influenced by Art Nouveau, Bauhaus, Cubist, Native American, and Egyptian sources, the distinguishing features of the style are simple, clean shapes, often with a “streamlined” look; ornament that is geometric or stylized from representational forms; and unusually varied, often expensive materials, which frequently include man-made substances (plastics, especially bakelite; vita-glass; and ferroconcrete) in addition to natural ones (jade, silver, ivory, obsidian, chrome, and rock crystal). Typical motifs included stylized animals, foliage, nude female figures, and sun rays. New York City's Rockefeller Center (especially its interiors supervised by Donald Deskey), the Chrysler Building by William Van Alen, and the Empire State Building by Shreve, Lamb & Harmon are the most monumental embodiments of Art Deco.

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