Term
|
Definition
| painting on lime plaster, either wet or dry. Also a painting in this method. |
|
|
Term
|
Definition
| an altarpiece made up of more than three sections |
|
|
Term
|
Definition
| an altarpiece made up of three sections |
|
|
Term
|
Definition
| techique of painting with pigment mixed with egg yolk, glue, or casein, also the medium |
|
|
Term
| hieratic or hierarchy of scale |
|
Definition
| unnatural distortion of size of part or individual to bring attention, focus on part, or single out in group, such as a leader. |
|
|
Term
|
Definition
| writing of images refers to content, or subject of art. Includes the study of symbols, images the stand of other images or encapsulate ideas. |
|
|
Term
|
Definition
| in Renaissance, emphasis on education and expanding knowledge (especially of classical antiquity), exploration of individual potential and desire to excel, and commitment to civic responsibility and moral duty. based on the culture and literature of classical Greco-Roman antiquity |
|
|
Term
|
Definition
| monochrome painting in neutral grays to simulate sculpture |
|
|
Term
| breviary or book of hours |
|
Definition
| book containing all the daily psalms, hymns, prayers, and lessons, as well as illuminations. |
|
|
Term
|
Definition
| a work of art that decorates the space above and behind the altar. Painting, relief, and sculpture alone or in combination. Seen from both sides so both sides are painted. |
|
|
Term
| atmospheric (or aerial) perspective |
|
Definition
| creates the illusion of distance by diminishing color intensity, shift toward neutral blue and blurring of contours |
|
|
Term
|
Definition
| Holy Communion, Lords Supper, taking of bread and wine as body and blood. |
|
|
Term
|
Definition
| style or category of art; a kind of painting that realistically depicts scenes of everyday life |
|
|
Term
|
Definition
| supports and commissions artwork, directed subject matter for large works. |
|
|
Term
|
Definition
| technique of using pictorial methods in order to deceive the eye, linear perspective. Tromp l’oeil, photographic realism. A style of painting which makes two-dimensional objects appear to be three-dimensional. |
|
|
Term
|
Definition
| to show or suggest that something will happen in the future |
|
|
Term
|
Definition
| human figure that has one part turned opposite other (legs and hips one way; shoulders and chest other), creating a counterpositioning about the central axis. Weight shift: weight falls on one foot so tension on one side, relax on other foot |
|
|
Term
|
Definition
| lines of projection converge on 1, 2, or 3 points referenced by the vanishing point, objects become smaller as they are farther away |
|
|
Term
|
Definition
| where the reference lines converge at eye level on the horizon |
|
|
Term
|
Definition
| imagined line behind and perpendicular to the picture plane; in a painting they seem to recede toward the vanishing point |
|
|
Term
|
Definition
| the treatment and use of light and dark in a painting or drawing, especially gradations that produce the effects of modeling |
|
|
Term
|
Definition
| coined by Italian Renaissance artist, Leonardo da Vinci, technique of blurring or softening of sharp outlines by subtle and gradual blending of one tone into another through the use of thin glazes to give the illusion of depth or three-dimensionality. This stems from the Italian word sfumare meaning to evaporate or to fade out. The opposite of sfumato is chiaroscuro. |
|
|
Term
|
Definition
| describes poetic art which emphasizes lyrical and sensual, notably Venetian Renaissance painting |
|
|
Term
|
Definition
| Italian colored or painted. Emphasis on the application of paint as the important element as opposed to Central Italian artists who emphasized disegno |
|
|
Term
|
Definition
| Italian drawing and design. Renaissance artists considered drawing to be the physical manifestation (disegno esterno) of an internal intellectual idea of design (disegno interno) |
|
|
Term
|
Definition
| later Renaissance art involved contrived imagery not derived directly from nature. Artworks showed self-conscious stylization of complexity, fantasy, polish. Architecture flouted the classical rules of order, stability, and symmetry, to the point of parody. Use of distorted figures in complex, impossible poses, and strange artificial colors. |
|
|
