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| art having a high regard for the arts of classical antiquity, ie: donatello's sassy david 1440-1460. classicism had a resurgence in the italian renaissance, bringing back the glory of Rome |
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| the disposition of the human figure in which one part is turned into opposition to another part, ie: donatello's david 1440-1460 |
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| italian "smoky" a smoke like haziness that subtly softens outlines in aintings, particularly applied to the work of leonardo davinci |
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| an equilateral cross plan used in the original design of saint peters by michelangelo buonorotti 1546 |
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| an attempt by the catholic church to regain followers by makign the religion more exciting and accessable through work like paolo veronese's christ in the house of levi 1573 |
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| a reminder of the inevitability of death as seen in hans holbein the younger's the french ambassadors 1533 |
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| french "fools the eye" a form of illusionistic painting that aims to decieve viewers into believeing that they are seeing real objects. ie: Andrea Mantegna, Camera Picta, Ducal Palace, Mantua, Italy,1465-1474 (Early Renaissance) |
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| a three paneled painting, ivory plaque, or alterpiece. ie: Hieronymus Bosch, Garden of Earthly Delights, 1505-1510 (Northern Renaissance) |
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| characteristic of 16th century venetian artists who emphasized the application of paint as an important element of the creative process. ie; giorgione da castelfranco's the tempest, 1510 |
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german "total work of art", a synthesis of different mediums such as architecture painting and sculpture, ie:
Gianlorenzo Bernini, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, |
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| The word is Latin, meaning "emptiness" and loosely translated corresponds to the meaninglessness of earthly life and the transient nature of vanity |
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| In architecture, a plan in which the parts of a building are organized longtitudinally, or along a given axis |
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