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| having no color or hue; without identifiable hue; most blacks, whites, grays, and browns |
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| clear plastic used as a binder in paint and as a casting material in sculpture |
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| study and philosophy of the quality and nature of sensory responses related to concept of beauty; philosophy of art focusing on questions regarding what art is, how it is evaluated, the concept of beauty an the relationship between the idea of beauty and the concept of art |
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| visual image that remains after an initial stimulus is removed (fatigued cones in the eye see only the complement color of the original hue after it is removed |
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| when literal content of a work stands for abstract ideas suggesting parallel, deeper, symbolic sense |
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| aisle that can be used to walk around a church, around the apse and behind the main alter |
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| closely related hues; those in which a common hue can be seen; neighbors on color wheel |
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| camera lens opening and its relative diameter (f/8, f/11, etc) as the number increases, the diameter decreases |
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| semicircular end to an aisle in a bascilica or Christian church. usually at eastern of center aisle |
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| art concerned with making objects with functional purposes |
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| channel built to bring water to cities or towns often supported by a series of arches |
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| series of arches supported by columns or piers; covered passageway between two series of arches or between a series of arches and a wall |
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| rigid framework serving as a supporting inner core for clay of other soft sculpting material |
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| trail print, usually made as an artist works on a plate or block to check for progress of work |
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| masonry done without use or mortar; black are placed strategically to hold in place |
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| creates illusion of distance by reducing color saturation, value contrast, and detail in order to imply a hazy effect of atmosphere between viewer and distant objects |
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| arrangement of parts achieving a state of equilibrium between opposing forces or influences |
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| seventeenth century period in Europe characterized in the visual arts by dramatic light and shade, turbulent composition, and exaggerated emotional expression |
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| semicircular arch extended in depth; a continuous series of arches, one behind the other |
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| 3-d forms of project (sculpture) project from flat surface of which they are a part |
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| Roman town hall with 3 aisles and an apse at one or both ends- style for churches |
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| material used in paint that causes pigment particles to adhere to one another and or the support |
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| a type of Buddhist holy person who is about to achieve enlightnment, but postpones it to remain on earth to teach others |
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| tool used to engrave metal plates or carve stone; wooden knob-like handle, metal shaft, beveled point with one size of several possible shapes |
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| a support, usually exterior, for a wall, arch, or vault that opposes the lateral forces of these structures |
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styles of painting, design, and arch developed from 5th century c.e. in the Byzantine Empire of ancient eastern Europe
Byzantine architecture- large domes, extensive use of mosaic
Byzantine painting- formal design with frontal and stylized figures, rish use of color (especially gold) in generally religious subject matter |
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| dark room or box with a small hole in one side through with an inverted image of the view outside is projected onto the opposite wall, screen or mirror in order to be traced; forerunner of the modern camera |
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| beam or slab projecting a substantial distance beyond its supporting post or wall; a projection supported only at one end |
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| humorous or satirical drawing; a drawing completed as a full scale working drawing, usually for a fresco painting, mural, or tapestry |
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| substitution or replacement process that invloves pouring liquid material such as molten metal, clay, wax, or plaster into a mold; when liquid hardens, mold is removed and a form in the shape of the is left |
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| clay hardened into a relatively permanent material by firing |
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| Italian for "light-dark," graduations of light and dark values in 2D imagery; illusion of rounded, 3d form created through graduations of light and shade instead of lines |
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| part of a church or cathedral where services are sung; often seperated from nave by a screen |
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| self-contained or explicitly limited form; having a resolved balance of tensions, a sense of calm completeness implying a totality within itself |
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| decorative sunken panels on the underside of a ceiling |
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| work made by gluing various materials on a flat surface (paper scraps, photos, cloth, etc.) |
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| row of columns usually spanned or connected by beams (lintels) |
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| 2 hues directly opposite one another on a color wheel; when mixed they produce a neutral gray |
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| combining of parts or elements to form a whole; the structure, organization or total form of a work of art |
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| art from in which the originating idea and the process by which it is presented take precedence over a tangible product (often exist only as descriptions of mental concepts or ideas), came about in the late 1960s as a mode of avioding the commercialization of art |
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| lines that surround and define the edges of a subject giving it shape and volume |
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| Italian for "counter pose," weight is placed on one foot causing hop and shoulder lines to counterbalance each other- form of graceful s-curve |
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| relative visual colors that seem cool; include green, blue, violet, blue-green, blue-violet |
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| drawing one set of hatching over another in a different direction making the lines cross; hatching is used in drawing and linear forms of printmaking in which lines are placed in parallel series to darken the value of an area |
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| most influentual style of the 1990s; developed in Paris by Picasso and Braque, beginning in 1907; based on the simultaneous presentation of multiple views, disintegration, and geometric reconstruction on subjects in flattened, ambiguous pictoral space; figure and ground merge into one interwoven surface of shifting planes; color is limited to neutrals |
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| formed or characterized by curving lines or edges |
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| cloth or representation of cloth arranged to hang in folds |
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| final texture has been given to a hard medium, especially wood or stone with chisels or hammers |
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| intaglio printmaking process in which lines are scratched directly into a metal plane with a steel needle |
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| sculptural forms made from earth, rocks, or sometimes plants, often on a vast scale and in remote locations; some are delibrately impermanent |
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| total number of prints made and approved by the artist usually numbered consecutively; a limited number of multiples of originals of a single design in any medium |
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| in architecture, a scale drawing of any vertical side of a given structure |
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| a painting medium in which pigment is suspended in a binder of hot wax |
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| slight swelling or bulge in center of a column which corrects illusion of concave tapering produced by parallel straight lines (classical architecture) |
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| intaglio process in which a metal plate is coated with acid-resistant wax, then scratched to expose the metal to the bit of nitric acid where lines are desired |
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| front or face of a building |
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| a thin varnish, natural or synthetic, that is sprayed over charcoal, pastel, oil pastel, oil crayon, pencil, and other drawing mediums, as well as photographs, maps, signs, and unfired ceramics, to protect them from smearing, finger prints, and detaching from a supporting surface (paper, etc); all or some fixative will alter the original colors slightly |
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| grooves or channels that are slightly semicircular in cross-section, repeatedly found in vertical columns, pedastals, pilasters and sometimes used in frames and other molding |
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| consists of a strut or segment of an arch carrying the thrust of a vault to a vertical pier positioned away from the main portion of the building |
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| the people who have had no formal, academic training, but whose work is a part of an established tradition of style and craftmanship |
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| representation of forms on a 2D surface by shortening the length in such a way that the long axis appears to project toward or recede away from the viewer |
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| shape or proportions of a picture plane |
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| painting technique in which pigments suspended in water are applied to a damp lime-plaster surface; pigments dry to part of the plaster wall or surface |
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| narrow band of relief sculpture that usually occupies the space above the columns of a classical building |
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| depictions of subjects and scenes from everyday life |
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| in ceramics, vitreous or glassy coating applied to seal and decorate surfaces; glaze may be colored, trapsparent or opaque |
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| opaque, water-soluble paint (water color to which white has been added) |
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| hardened sap secreted by acacia trees used as a medium, vehicle, or binder for water soluble pigments |
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| property of a color identifying a specific named wavelength of light such as green, red, violet and so on |
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| symbolic meanings of subjects and signs used to convey ideas important to particular cultures or religions, and the conventions governing the use of such forms |
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| thick paint applied to a surface in a heavy manner, having the appearance and consistency of buttery paste |
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| line in a composition that is not actually drawn, may be a slight line of a figure in a composition or a line along which two shapes align with each other |
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| in place; in the original potision |
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| any printmaking technique in which lines and areas to be inked and transfered to paper are recessed below the surface of the printing plate |
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| relative purity or saturation of a hue on a scale from bright (pure) to dull (mixed with another hue/neutral) |
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| highest and most central block in an arch; wedge shaped; last to be placed; holds arch together |
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| oven in which pottery or ceramic ware is fired |
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| Greek for "maiden;" archaic Greek statue of a standing clothed young woman |
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| Greek for "youth;" archaic Greek statue of a standing nude young male |
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| continuous mark made on some surface with a moving point |
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| parallel lines or edges appear to converge and objects appear smaller as the distance between them and the viewer increases |
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| horizontal stone or timber placed across an architectural space to take the weight of the roof or wall above lith |
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| planographic printmaking technique based on the antipathy of oil and water; image is drawn with a grease crayon or painted with tesche on a stone or grained aluminum plate; surface is then treated chemically and dampened so that it will accept ink only where crayon or tusche has been used |
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| actual color as distinguished from the apparent color of objects and surfaces; true color; without shadows or reflections |
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| generic term for any plan, chart or geometric pattern that represents the cosmos metaphysically or symbolically especially in dharmic religions |
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| style that developed in the 16th century as a reaction to the classical rationality and balanced harmony of the high renaissance/characterized by dramatic use of space and light, exaggerated color, elongation of figures, and distortions of perspective, scale and proportion |
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| non-representational style of sculpture and painting usually severely restricted in the use of visual elements and often consisting of simple geometric shapes or masses (late 60s) |
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| color scheme limited to variations of one hue; a hue with its tints or shades |
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| composition made up pictures or parts of pictures previously drawn, painted or photographed |
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| art medium in which small pieces of colored glass, stone or ceramic tile are embedded in a background material such as plaster or mortar |
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| house of public prayer in the Muslim religion |
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| large wall painting, often executed in fresco |
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| tall central space of a church or cathedral, usually flanked by side aisles |
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| revival of classical Greek and Roman forms in art, music and literature, particularly during the 18th and 19th centuries in Europe and America |
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| not associated with any hue; blacks, whites, grays, and dull-gray browns |
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| art without reference to anthing outside itself; without representation |
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| round central opening or eye of a dome |
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| not penetratable by light; not transparent or translucent |
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| irregular, non-geometric in shape; shape that remebles any living matter |
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| coloration on any surface either unintended and produced by age or inherited and produced by simulation or stimulation |
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| wide, low-pitched gable surmounting the facade of a building in the ancient Grecian style |
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| concave, triangular piece of masonry; four of these form the transition from a square area to the circular bade of a covering dome; they support the dome (triangular legs of a dome-capped pavilion) |
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| any coloring agent made from natural or synthetic substances, used in paints or drawing materials |
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| in architecture, a flat rectangular column with capital and base, attached to or set into a wall as an ornamental motif |
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| impression made on a piece of paper by pressing a printing plate onto it, a plate mark is usually a sign of an original print |
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| a system of painting using tiny dots or points of color (Seurat in the 1880s) |
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| a style of painting and sculpture that developed in the late 50s and 60s in Britain and US; based on visual cliches, subject matter and impersonal style of popular mass-media imagery |
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| red, yellow, blue; hues that cannot be made by mixing other hues |
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| size relationship of parts to a whole and to one another |
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| only print; stopping after one print as opposed to continuing to print |
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| regular or ordered repetition of dominant and subordinate elements or units within a design |
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| late Baroque style used in interior decoration and painting that was characteristically playful, pretty, romantic, and visually loose or soft; used small scale and ornate decoration, pastel colors, and asymmetrical arrangement or curves |
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| size or apparent size of an object seen in relation to other objects, people, or its environment or format; (ARCH-ratio to size of drawing and size of actual building) |
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| saint-maker, a person in Hispanic traditions who carves or paints religious figures |
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| size or apparent size of an object seen in relation to other objects, people, or its environment or format; (ARCH- ratio to size of drawing and size of actual building) |
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| duh, one who produces scupltures |
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| pigment secondaries are the hues orange, violet, and green which are produced in slightly dulled form by mixing 2 primaries |
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| representation of a drawing as it would appear as if it is cut by a intersecting plane, so that the internal structure is displayed |
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| legal distance that a building must be from property lines |
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| in painting, the technique of blurring or softening sharp outlines by subtle and gradual blending of one tone into another |
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| 2D or implied 2D area defined by line or changes in value and/or color |
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| clay that is thinned to the consistency of cream and is used as paint on earthware or stoneware ceramics |
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| characteristic handling of media and elements of form which give a work its identity as the product of a particular person, group, art movement, period or culture |
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| sculpture made by removing material from a larger block or form |
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| form or image implying or representing something beyond its obvious and immediate meaning |
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| "dark or gloomy" style of painting characterized by high contrast between light and shade- emphasis placed on chiaroscuro to achieve dark, romantic effects |
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| bit of colored glass, ceramic tile, or stone used in mosaic |
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| tactile quality of a surface or the representation or invention of the appearance of such a surface quality |
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| a painting in the shape of a circle (often in renaissance, paintings of Madonnas) |
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| degree of surface roughness in texture which is adequate to allow for paints, adhesives, etc to adhere |
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| aisle between apse and nave; cuts across nave and side aisles to form a cross-shaped floor plan |
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| "fool the eye;" a 2D representation that is so naturalistic that it looks actual or 3D |
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| in architecture, structural framework of wook or metal based on a triangular system used to span, reinforce or support walls, ceilings, piers, or beams |
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| in lithography, black liquid used most with brush or pen to paint a design |
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| appearance of similarity, consistency, or oneness; interelational factors that cause various elements to appear as part of a single complete form |
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| lightness or darkness of tones or colors |
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| method for suggesting the third dimension of depth in a 2D work by placing an object above another in the composition |
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| wedge shaped stones which form the curved portions of an arch or a vaulted ceiling |
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| colors who relative visual temperature makes them seem warm |
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| thin, transparent layer of paint or ink |
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| type of relief print made from an image that is left raised on a block of wood |
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