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| An artistic and intellectual movement originating in Europe in the late 18th century and characterized by a heightened interest in nature, emphasis on the individual's expression of emotion and imagination, departure from the attitudes and forms of classicism, and rebellion against established social rules and conventions. |
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| elevated or lofty in thought, language, etc |
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| woman held in slavery or a kept woman (in the past in harems of the Middle East particularly Turkish harem) |
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| The part of a Muslim household reserved for wives, concubines, and female servants. |
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| The representation in art or literature of objects, actions, or social conditions as they actually are, without idealization or presentation in abstract form. |
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| The creative destruction of something for the betterment of society |
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| A darkened box with a convex lens or aperture for projecting the image of an external object onto a screen inside |
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| He is most noted for producing the world's first known photograph in 1825. |
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| A photograph taken by an early process employing an iodine-sensitized silvered plate and mercury vapor. |
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| Academic art is a style of painting and sculpture produced under the influence of European academies or universities. |
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| A style or movement in the arts that aims to break with classical and traditional forms. |
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| a style of painting developed in the last third of the 19th century, characterized chiefly by short brush strokes of bright colors in immediate juxtaposition to represent the effect of light on objects. A manner of painting in which the forms, colors, or tones of an object are lightly and rapidly indicated. A manner of sculpture in which volumes are partially modeled and surfaces roughened to reflect light unevenly. |
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| of, relating to, or characteristic of the social middle class |
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| a French expression which means "in the open air", and is particularly used to describe the act of painting outdoors, which is also called peinture sur le motif |
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| Japonism, or Japonisme, the original French term, which is also used in English, is a term for the influence of the arts of Japan on those of the West. The word was first used by Jules Claretie in his book L'Art Francais en 1872, |
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| an artist of the Postimpressionist school who revolted against Impressionism. |
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| The blending of overlapping planes into one another |
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| A technique of neo-Impressionist painting using tiny dots, which become blended in the viewer's eye. |
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| The aims of an Expressionist were to express emotions through the use of vivid colors and strong, distorted lines, rather than capturing a likeness or reality. Their work was characterized by intense, violent, and non-naturalistic colors, painted in a textural manner. |
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| The use of symbols to represent ideas or qualities. Symbolic meaning attributed to natural objects or facts. |
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| any creative group active in the innovation and application of new concepts and techniques in a given field (especially in the arts). |
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| another way to refer to Abstract Art. These artworks do not represent or depict a being, a place or a thing in the natural world. |
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| Existing in thought or as an idea but not having a physical or concrete existence. |
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| Psychoanalysis is a form of psychotherapy used by qualified psychotherapists to treat patients who have a range of mild to moderate chronic life problems. It is related to a specific body of theories about the relationships between conscious and unconscious mental processes, and should not be used as a synonym for psychotherapy in general. Psychoanalysis is done one-on-one with the patient and the analyst; it is not appropriate for group work. |
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| A style or movement in the arts that aims to break with classical and traditional forms. |
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| A style of painting, music, or drama in which the artist or writer seeks to express emotional experience rather than impressions of the external world |
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| A style of painting with vivid expressionistic and nonnaturalistic use of color that flourished in Paris from 1905 and, although short-lived, had an important influence on subsequent artists, esp. the German expressionists. Matisse was regarded as the movement's leading figure |
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| a group of German Expressionist painters (1905–13), including Karl Schmidt-Rottluff, Fritz Bleyl, Erich Heckel, and Ernst Ludwig Kirchner. In 1912 they exhibited with der Blaue Reiter |
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| er Blaue Reiter (The Blue Rider) was a group of artists from the Neue Künstlervereinigung München in Munich, Germany. Der Blaue Reiter was a German movement lasting from 1911 to 1914, fundamental to Expressionism, along with Die Brücke which was founded the previous decade in 1905. |
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| A belief in the value of what is simple and unsophisticated, expressed as a philosophy of life or through art or literature. Unsophisticated behavior that is unaffected by objective reasoning. |
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| An artistic movement begun in Italy in 1909 that violently rejected traditional forms so as to celebrate and incorporate into art the energy and dynamism of modern technology. Launched by Filippo Marinetti, it had effectively ended by 1918 but was widely influential, particularly in Russia on figures such as Malevich and Mayakovsky |
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| An authoritarian and nationalistic right-wing system of government and social organization. |
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| Idolatry of machines, worship of machines |
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| Fracturing of space, flattening space explosively, reduce/simplified color pallet; eliminate detail to emphasize basic geometric form and rearrange shape; translated into tilted planes; not completely abstraction, uses collage |
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| Subjects broken down seeing same object from different POV |
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| Eliminates objects, focuses issues to liberate essential beauty like a desert leaving only feeling |
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| Response to horrific casualties and destruction of WWI; irrational, deliberate rejection of meaning, avoid language, art should appeal to the mind rather than senses |
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| Artist chose prefabricated object and given a role and significant different from those for which it was originally made; reject and reflect state of catastrophe |
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| Mondrian; manifest of neoplasticism "plastic" action of forms and colors, suggest underlying structure of nature; reality was new reality of forms and colors, harmony |
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| Resolution of conflict between opposites—this is essence of "universal beauty" |
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| The beauty of rational and universal, rather than sensual and subjective opposed to cubism |
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| Literary flourishment ; timeline from slaver to dancing; from oppression to empowerment |
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| A 20th-century avant-garde movement in art and literature that sought to release the creative potential of the unconscious mind. |
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| DADA surrealism and conscious write freely without restrictions; developed by the surrealists, as a means of expressing the subconscious. In automatic drawing, the hand is allowed to move 'randomly' across the paper. In applying chance and accident to mark-making, drawing is to a large extent freed of rational control |
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| Between US and Russia as superpowers, threat of nuclear war |
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| Includes action painting and color field painting; surrealism impact American art; Euro surrealist interest in unconscious; collective unconsciousness: every shares feelings and symbolic associations common to all humans |
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| Italian High Renaissance Art of Rome |
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| Looked to Classical past for inspiration and instruction (renewed interest in the culture of classical antiquity); achieve lifelike but idealized weighty figures set within a rationally configured space aka linear perspective; artists also began to use new techniques in the manipulation of light and darkness, such as the tone contrast evident in many of Titian's portraits and the development of sfumato and chiaroscuro; saw the first secular (non-religious) theme |
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| Baroque Art (Italian, Spanish, Flemish, Protestant Netherlands) |
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| part of Counter Reformation, church's reaction to Protestant Reformation; deliberately reaching out to faithful with art to keep them in fold; reaction against Mannerism because felt could not communicate with masses; evocation of intense emotional art response in viewer; space extends beyond sculpture/painting; time in action is about to shift and viewer must respond; naturalism, genre paintings, and still life; light defines baroque: intense contrast between light and shadow |
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| reaction against seriousness of Baroque, formality and rigidly; era of French salon>upperclass women; freely growing nature, subtle graduation of colors and juxtaposition; dainty figures; artifice art and language is prized; multimedia; integration of architecture and decor |
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| playfulness of the Rococo into gen longing for noble and serious modes of expression, borrows subject of Greece and Rome—Geometric harmony and rational heroic nudity, History painting, moralism, often conveying a moralizing concept |
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| represent the realistic version—looks like real life; success of a work of art depends on its ability to imitate reality |
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| represent the ideal—the perfection form of it; reality is inherently flawed; art should seek to do away with any suck flaws or irregularities and only represent the ideal: the goal is to represent things as they ought to be, rather than as they are; |
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| the process of creating the illusion of 3-d on a 2-d surface by the use of light and shade |
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| when something is at an angle to the picture plane |
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| method of rendering the effect of spatial distance by subtle variations in color and clarity of represit |
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| One point/linear perspective |
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| geo system for projection illusion of space onto a 2-D surface; ft. a vanishing point |
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| Impact of the Reformation on art-artists turn to secular subject matter |
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| Pope Paul III respond to threat of Protestantism and pursue church reform through Counter-Reformation; sought to destroy heresy, church's reaction to Protestant Reformation, deliberately reaching out to faithful |
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| Intellectual movement 18th cent in Europe; emphasis on Roman virtue and rationality, shift away from church |
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| 1266-1337 First artist of Ren. Contemporary of Dante. Trained in Byzantine style but strayed from this. Still focus on religious subjects but more human and in realistic settings-often landscapes. Experimented with CHIAROSCURO (light & shade) to provide illusion of depth. Famous for frescoes & as the architect of Florence's campanile(bell tower) of the cathedral (IL DUOMO). |
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| Italian High Renaissance Art of Venice |
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| emphasis on colorito - Venetian painting is filled with the soft, muted, reflected light one sees in Venice. Many of the subjects were stated as allegories. ex. venus of urbino by titian and giorgione |
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| the appearance of a point on the horizon at which parallel lines converge |
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| Vertical, parallel lines that convege at the vanishing point, seen in scientific perspective. |
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| your eye level line; the place where land and sky appear to meet. |
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| Human posture in which the shoulders and head are turned one way and the hips and legs another; weight off the body is put on one foot, creating a feeling of tension on one side of the body and relaxation on the other |
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| a religious movement of the 16th century that began as an attempt to reform the Roman Catholic Church and resulted in the creation of Protestant churches |
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| French for "fool the eye." A two-dimensional representation that is so naturalistic that it looks actual or real (or three-dimensional). |
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| The support given by a patron. |
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| A Renaissance cultural movement that turned away from medieval scholasticism and revived interest in ancient Greek and Roman thought. |
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| Of or relating to Byzantium, the Byzantine Empire, or the Eastern Orthodox Church. |
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| A painting done rapidly in watercolor on wet plaster on a wall or ceiling, so that the colors penetrate the plaster and become fixed as it dries |
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| The treatment of light and shade in drawing and painting. An effect of contrasted light and shadow created by light falling unevenly or from a particular direction on something. |
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| A book containing the prayers or offices to be said at the canonical hours of the day, particularly popular in the Middle Ages |
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| A container for holy relics. |
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| A historiated initial is an enlarged letter at the beginning of a paragraph or other section of text, which contains a picture. |
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| A picture or sculpture of the Virgin Mary holding the dead body of Christ on her lap or in her arms. |
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| figures diminish their scale as they recede into the distance |
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| A paste made with ground pigment and a drying oil such as linseed oil, used chiefly by artists |
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| Aerial perspective or atmospheric perspective refers to the effect the atmosphere has on the appearance of an object as it is viewed from a distance. |
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| A donor portrait or votive portrait is a portrait in a larger painting or other work showing the person who commissioned and paid for the image, or a member of his, or (much more rarely) her, family. |
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A print of a type made from a design cut in a block of wood, formerly widely used for illustrations in books.
The technique of making such prints. |
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A print made from an engraved plate, block, or other surface.
The process or art of cutting or carving a design on a hard surface, esp. so as to make a print. |
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| Of or involving right angles; at right angles |
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The point at which receding parallel lines viewed in perspective appear to converge.
The point at which something that has been growing smaller or increasingly faint disappears altogether. |
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| in a perspective drawing, the imaginary line at eye level used as a construction line |
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| anatomically correct bodies |
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| An asymmetrical arrangement of the human figure in which the line of the arms and shoulders contrasts with while balancing those of the hips and legs |
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| The technique of allowing tones and colors to shade gradually into one another, producing softened outlines or hazy forms. |
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| Drawing is a visual art that makes use of any number of drawing instruments to mark a two-dimensional medium |
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| colored, colorful, lively, vivid, vivacious |
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| The process or technique of laying on paint or pigment thickly so that it stands out from a surface. |
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| A 16th-century movement for the reform of abuses in the Roman Catholic Church ending in the establishment of the Reformed and Protestant Churches |
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| The rejection or destruction of religious images as heretical; the doctrine of iconoclasts. |
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| A style of painting depicting scenes from everyday life, associated particularly with 17th-century Dutch and Flemish artists. |
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| a style of painting using very pronounced chiaroscuro, where there are violent contrasts of light and dark and darkness becomes a dominating feature of the image. |
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| Space that exists on the threshold between two different planes, rural and urban. |
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| an outdoor entertainment or rural festival, especially as depicted in 18th-century French painting. |
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| History painting is the painting of scenes with narrative content from classical history, Christian history, and mythology, as well as depicting the historical events of the far or near past. |
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| Harmony, simplicity, rationality |
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| composition every painting should have |
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| Fourteenth-century Art of Florence |
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| influenced by byzantine art. Moves toward three-dimensionality. |
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