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| was a piece of parchment or paper painted illusionistically, often as though attached to a wall or parapet in a painting, commonly with the artist's name or that of a sitter. It creates the illusion of being almost part of the real, rather than the painted (illusionistic), space |
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| A drawing presenting a distorted image that appears in natural form under certain conditions, as when viewed at a raking angle or reflected from a curved mirror. |
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| Putting the apparent subject of the picture in the background. |
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| A term used to loosely categorize paintings depicting scenes of everyday life, including (among others) domestic interiors, parties, inn scenes, and street scenes. |
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| a permanent ornamental canopy, as above a freestanding altar or throne. |
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| the use of extreme contrasts of light and dark in figurative compositions to heighten their dramatic effect. |
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| a type of painting that has inanimate objects as its subject (ex. fruit, flowers, food, etc) |
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| The texture created on a paint surface by the movement of the brush. Usually implies thick, heavy brushwork that stands out from the surface in relief. |
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| the act or process of printmaking on a metal plate, by the corrosive action of an acid instead of by a burin. |
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| the predecessors to our modern day museums. |
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| An extended tour of cultural sites in France and Italy in the 18th and 19 centuries, intended to finish the education of a young upper-class person primarily from Britain or North America. |
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| the cross placed in the atrium of a church |
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| The first sketch of a picture or model of a statue. |
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| Turkish word for "harem slave girl" or "concubine." |
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| process of making a print (lithograph) from a design drawn on a flat stone block with greasy crayon. Ink is applied to the wet stone and adheres only to the greasy areas of the design |
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adjective describing a concept, thing, or state of greatness, or vastness with high spiritual, moral, intellectual, or emotional value.
-goal to which many 19th century artists aspired in their artworks |
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| dry pigment, chalk, and gum in stick or crayon form |
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| italian for "view", paintings, drawings, or paintings often of expansive city scenes or of harbors |
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| a fine-grained, unglazed, white ceramic developed by Josiah Wedgwood, often colored by metallic oxides with the raised designs remaining white |
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| places of study. Academy of Drawing, Academy of Painting, etc. created to foster the arts by teaching, discussion, exhibitions, etc |
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| paintings based on historical, mythological, or biblical narratives. Often painted in a grand pictorial style. |
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-Sought to present Classical ideals and subject matter in a style derive from Classical Greek and Roman sources.
-Reflects the frozen forms, tight compositions, and shallow space of ancient relief sculpture |
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