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| Chiaroscuro (Italian for clear-dark) is a term in art for a contrast between light and dark. The term is usually applied to bold contrasts affecting a whole composition, but is also more technically used by artists and art historians for the use of effects representing contrasts of light, not necessarily strong, to achieve a sense of volume in modelling three-dimensional objects such as the human body |
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Sfumato is the Italian term for a painting technique which overlays translucent layers of colour to create perceptions of depth, volume and form. In particular, it refers to the blending of colours or tones so subtly that there is no perceptible transition. In Italian sfumato means "smoky" and is derived from the Italian word fumo meaning 'smoke'. Leonardo da Vinci described sfumato as "without lines or borders, in the manner of smoke or beyond the focus plane".[1] |
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| Julius II, Pope, 1503-1513 the warrior pope Renaissance Italy: The Big Three (+One) |
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| Leonardo da Vinci, 1452-1519 |
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| Vitruvian Man, c. 1490, ink. Leonardo da Vinci, 1452-1519 high renaissance |
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| The Last Supper, 1495-98, Monastery of Santa Maria delle Grazie, tempera and oil/plaster. Leonardo high renaissance |
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| Mona Lisa, c. 1503, oil/panel leonardo high renaissance |
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School of Athens, Stanza della Segnatura, Vatican, Rome, c. 1510-1511, fresco. raphael high renaissance |
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| Raphael (Raffaello Sanzio), 1483-1520 |
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David, c. 1501-1504, marble. michelangelo high renaissance |
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| Michelangelo Buonarroti, 1475-1564 |
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| Ceiling, Sistine Chapel, Vatican, Rome, 1508-1512, fresco. Michelangelo high renaissance |
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| Last Judgment, Sistine Chapel, Vatican, Rome, 1536-41, fresco. Michelangelo |
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| Titian (Tiziano Vecelli), c. 1488-1576 |
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| Venus of Urbino, c. 1538, oil/canvas. titian |
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| Martin Luther posts his Ninety-five Theses |
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1517 Germany and the Netherlands: the Protestant Reformation |
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| destruction of physical icons in religion (PR) |
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| was a French Protestant theologian during the Protestant Reformation |
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| Albrecht Dürer, Four Apostles, 1526, oil/panel. |
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Albrecht Dürer Adam and Eve, 1504, engraving |
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| Hieronymus Bosch, Garden of Earthly Delights, c. 1505-1515, oil on wood panel |
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| Albrecht Altdorfer, Danube Landscape, c. 1525, oil on vellum on wood panel |
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