Term
|
Definition
| Duccio, Maestà, 1308-11, front panel |
|
|
Term
|
Definition
GIOTTO di Bondone, Madonna
Enthroned, ca. 1310.
Tempera and gold leaf on wood, 10’
8” x 6’ 8”. Galleria degli Uffizi,
Florence |
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Term
|
Definition
Giotto, Arena Chapel, 1305-06
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Term
|
Definition
Giotto, Betrayal of Jesus, Arena Chapel (Cappella
Scrovegni), Padua, Italy, ca. 1305. |
|
|
Term
|
Definition
| GIOTTO, Lamentation, Arena Chapel, (Cappella Scrovegni), Padua, Italy, ca. 1305. |
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|
Term
|
Definition
| Ambrogio Lorenzetti, Effects of Good Government in the Country |
|
|
Term
|
Definition
SIMONE MARTINI AND LIPPO MEMMI(?), Annunciation, altarpiece, from Siena
Cathedral, Siena, Italy, 1333 |
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Term
|
Definition
| Arnolfo de Cambio and others, Florence Cathedral |
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Term
|
Definition
Filippo Brunelleschi
Sacrifice of Isaac
1400 |
|
|
Term
|
Definition
Lorenzo Ghiberti, Sacrifice of
Isaac,
1400 |
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Term
|
Definition
| Donatello, David, late 1440–1460 |
|
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Term
|
Definition
Masaccio, Holy Trinity with the Virgin,
Saint John, and Two Donors, ca. 1428 |
|
|
Term
|
Definition
| , Très Riches Heures du Duc de Berry, 1413-16: February & October |
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|
Term
|
Definition
| Robert Campin (Master of Flémalle), Mérode Altarpiece, ca. 1425-28 |
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|
Term
|
Definition
| Sandro Botticelli, Primavera, ca. 1482 |
|
|
Term
|
Definition
Leonardo da Vinci, cartoon for
Madonna and Child with Saint Anne
and the Infant Saint John, ca. 1505–
1507 |
|
|
Term
|
Definition
| Leonardo da Vinci, Vitruvian Man, ca. 1485–1490 |
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|
Term
|
Definition
Leonardo da Vinci, Madonna of the
Rocks, from San Francesco Grande,
Milan, Italy, begun 1483 |
|
|
Term
|
Definition
| Raphael, Madonna in the Meadow, 1505. |
|
|
Term
|
Definition
Leonardo da Vinci, Mona Lisa
ca. 1503–1505 |
|
|
Term
|
Definition
| LEONARDO DA VINCI, Last Supper, ca. 1495–1498 |
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|
Term
|
Definition
Raphael, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy,
1509–1511. |
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Term
|
Definition
Michelangelo, Pieta,
ca. 1498-1500 |
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|
Term
|
Definition
|
|
Term
|
Definition
Michelangelo Buonarroti, interior and ceiling of the Sistine Chapel,
Vatican City, Rome, Italy, 1508-1512. |
|
|
Term
|
Definition
Michelangelo, Creation of Adam detail of the ceiling (FIG. 22-17) of the
Sistine Chapel, Vatican City, Rome, Italy, 1511–1512 |
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|
Term
|
Definition
Michelangelo, Libyan Sibyl (l) & Cumaean Sibyl (r),
Sistine Chapel, 1508-1512 |
|
|
Term
|
Definition
Michelangelo
Last Judgment, altar wall of
the Sistine Chapel (FIG. 22-
18), Vatican City, Rome,
Italy, 1536–1541. |
|
|
Term
|
Definition
Andrea Palladio, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1566–
1570 |
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|
Term
|
Definition
| Giorgione da Castelfranco, (and/or Titian?), Pastoral Symphony, ca. 1508–1510. |
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|
Term
|
Definition
| Titian, Venus of Urbino, 1538 |
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|
Term
|
Definition
| Jan van Eyck, Ghent Altarpiece (open), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. |
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|
Term
|
Definition
Jan Van Eyck, Ghent Altarpiece (closed),
Saint Bavo Cathedral, Ghent, Belgium,
completed 1432 |
|
|
Term
|
Definition
Jan van Eyck, Giovanni Arnolfini and his
Bride, 1434 |
|
|
Term
|
Definition
| Rogier van der Weyden, Deposition, ca. 1435 |
|
|
Term
|
Definition
MATTHIAS GRÜNEWALD, Isenheim Altarpiece (closed)
1510 |
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|
Term
|
Definition
Albrecht Dürer, Self-Portrait,
1500 |
|
|
Term
|
Definition
| Hans Holbein the Younger, Henry VIII, 1540 |
|
|
Term
|
Definition
HANS HOLBEIN
THE YOUNGER,
The French
Ambassadors, 1533 |
|
|
Term
|
Definition
| HIERONYMUS BOSCH, Garden of Earthly Delights, 1505-1510 |
|
|
Term
|
Definition
ALBRECHT DÜRER, The
Fall of Man (Adam and Eve),
1504 |
|
|
Term
|
Definition
| Pieter Breughel the Elder, Netherlandish Proverbs, 1559 |
|
|
Term
|
Definition
| Pieter Bruegel the Elder, Hunters in the Snow, 1565 |
|
|
Term
|
Definition
El Greco, The Burial of
Count Orgaz, 1586 |
|
|
Term
|
Definition
FRANCESCO BORROMINI,
plan of San Carlo alle Quattro |
|
|
Term
|
Definition
FRANCESCO
BORROMINI, San Carlo
alle Quattro Fontane
(view into dome), Rome,
Italy, 1638-1641. |
|
|
Term
|
Definition
GIANLORENZO BERNINI,
David 1623 |
|
|
Term
|
Definition
Gianlorenzo Bernini, Ecstasy of
Saint Teresa, Cornaro Chapel,
Santa Maria della Vittoria, Rome,
Italy, 1645–1652 |
|
|
Term
|
Definition
| CARAVAGGIO, Musicians, ca. 1595 |
|
|
Term
|
Definition
CARAVAGGIO, Conversion of
Saint Paul, ca. 1601 |
|
|
Term
|
Definition
DIEGO VELÁZQUEZ
King Philip IV of Spain (Fraga
Philip), 1644 |
|
|
Term
|
Definition
DIEGO
VELÁZQUEZ, Las
Meninas (The Maids of
Honor), 1656 |
|
|
Term
|
Definition
| Gerrit von Honthorst, Supper Party, 1620 |
|
|
Term
|
Definition
Peter Paul Rubens,
Arrival of Marie de’
Medici at Marseilles,
1622–1625. |
|
|
Term
|
Definition
| Peter Paul Rubens, Consequences of War, 1638–1639 |
|
|
Term
|
Definition
| Nicolas Poussin, Landscape with Saint John on Patmos, 1640 |
|
|
Term
|
Definition
| Nicolas Poussin, Et in Arcadia Ego, ca. 1655 |
|
|
Term
|
Definition
Jules Hardouin-Mansart and Charles Le Brun, Galerie des Glaces (Hall of
Mirrors), palace of Louis XIV, Versailles, France, ca. 1680 |
|
|
Term
|
Definition
Hyacinthe Rigaud
Louis XIV, 1701.
Oil on canvas, |
|
|
Term
|
Definition
| Antoine Watteau, Return from Cythera, 1717 |
|
|
Term
|
Definition
Jean-Honoré Fragonard,
The Swing, 1766 |
|
|
Term
|
Definition
| Rembrandt van Rijn, The Company of Banning Cocq (Night Watch), 1642. |
|
|
Term
|
Definition
Rembrandt van Rijn
Self-Portrait, ca. 1659–
1660 |
|
|
Term
|
Definition
| Rembrandt van Rijn, The Jewish Bride, 1665 |
|
|
Term
|
Definition
| FRANS HALS, Archers of Saint Hadrian, ca. 1633 |
|
|
Term
|
Definition
| Jacob van Ruisdael, View of Haarlem from the Dunes at Overveen, ca. 1670. |
|
|
Term
|
Definition
Jan Vermeer
The Milkmaid,
1657-58 |
|
|
Term
|
Definition
| Benjamin West, Death of General Wolfe, 1771 |
|
|
Term
|
Definition
William Blake: Newton, monotype, 1795; from the series ‘Large Colour
Prints’, 1795 |
|
|
Term
|
Definition
WILLIAM BLAKE, Ancient
of Days, frontispiece of
Europe: A Prophecy, 1794. |
|
|
Term
|
Definition
FRANCISCO GOYA,
The Sleep of Reason Produces
Monsters, from Los
Caprichos, ca. 1798 |
|
|
Term
|
Definition
| FRANCISCO GOYA, Third of May, 1808, 1814 |
|
|
Term
|
Definition
FRANCISCO GOYA, Saturn Devouring One
of His Children, 1819–1823 |
|
|
Term
|
Definition
| THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819 |
|
|
Term
|
Definition
| EUGÈNE DELACROIX, Liberty Leading the People, 1830 |
|
|
Term
|
Definition
| CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810 |
|
|
Term
|
Definition
| J.M.W. Turner, Rain, Steam, and Speed, ca. 1844 |
|
|
Term
|
Definition
THOMAS COLE, The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after
a Thunderstorm), 1836 |
|
|
Term
|
Definition
| Frederick Church, Niagara, 1857 |
|
|
Term
|
Definition
| Joseph Wright of Derby, An Experiment on a Bird in the Air-Pump, 1768 |
|
|
Term
|
Definition
Jean-Siméon Chardin
Saying Grace, 1740 |
|
|
Term
|
Definition
| Jacques-Louis David, Oath of the Horatii, 1784. |
|
|
Term
|
Definition
Jacques-Louis David
The Death of Marat,
1793. Oil on canvas |
|
|
Term
|
Definition
Thomas Jefferson, Monticello, Charlottesville,
United States, 1770–1806. |
|
|
Term
|
Definition
| Robert Adam, Etruscan Room, Osterley Park House, |
|
|
Term
|
Definition
| Henry Flitcroft and Henry Hoare, the park at Stourhead, England, 1743–1765 |
|
|
Term
|
Definition
| Jacques-Louis David, Coronation of Napoleon, 1805–1808. Oil on canvas |
|
|
Term
|
Definition
Jacques-Louis David,
Napoleon Crossing the
Saint-Bernard Pass, 1800–
1801 |
|
|
Term
|
Definition
| Antonio Canova, Cupid and Psyche, 1787–1793 |
|
|
Term
|
Definition
| JEAN-AUGUSTE-DOMINIQUE INGRES, Grande Odalisque, 1814 |
|
|
Term
|
Definition
| Gustave Courbet, The Stone Breakers, 1849 |
|
|
Term
|
Definition
Gustave Courbet, Burial at Ornans, 1849.
Oil on canvas |
|
|
Term
|
Definition
| Honoré Daumier, Rue Transnonain, 1834 |
|
|
Term
|
Definition
| Honoré Daumier, Third-Class Carriage, ca. 1862 |
|
|
Term
|
Definition
Edgar Degas, L’Absinthe, 1876
Oil on canvas |
|
|
Term
|
Definition
| Édouard Manet, Le Déjeuner sur l’Herbe (Luncheon on the Grass), 1863 |
|
|
Term
|
Definition
| Édouard Manet, Olympia, 1863. Oil on canvas |
|
|
Term
|
Definition
| WINSLOW HOMER, Veteran in a New Field, 1865 |
|
|
Term
|
Definition
| Claude Monet, Impression: Sunrise, 1872. Oil on canvas |
|
|
Term
|
Definition
| Claude Monet, Rouen Cathedral (early morning, noon, in fog), 1892-94 |
|
|
Term
|
Definition
| CLAUDE MONET, Saint-Lazare Train Station, 1877. Oil on canvas, |
|
|
Term
|
Definition
Camille Pissarro, La Place du Théâtre Français, 1898.
Oil on canvas |
|
|
Term
|
Definition
| EDGAR DEGAS, Ballet Rehearsal, 1874 |
|
|
Term
|
Definition
JAMES ABBOTT
MCNEILL WHISTLER,
Nocturne in Black and
Gold (The Falling Rocket),
ca. 1875. |
|
|
Term
|
Definition
| Georges Seurat, A Sunday on La Grande Jatte, 1884–1886 |
|
|
Term
|
Definition
| Paul Cézanne, Mont Sainte-Victoire, 1902–1904. Oil on canvas, |
|
|
Term
|
Definition
| Paul Cézanne, Basket of Apples, ca. 1895. Oil on canvas |
|
|
Term
|
Definition
| Vincent Van Gogh, Bedroom at Arles, 1889 |
|
|
Term
|
Definition
| Vincent Van Gogh, Starry Night, 1889. Oil on canvas |
|
|
Term
|
Definition
Paul Gauguin, Vision after the Sermon or Jacob Wrestling with the Angel, 1888. Oil on
canvas |
|
|
Term
|
Definition
Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going?
1897. Oil on canvas, |
|
|
Term
|
Definition
EDVARD MUNCH, The
Scream, 1893. Tempura and
pastels on cardboard |
|
|
Term
|
Definition
| HENRI MATISSE, Le Bonheur de Vivre (The Joy of Life), 1905–1906. Oil on canvas, |
|
|
Term
|
Definition
Henri Matisse, Red Room (Harmony in Red), 1908–1909.
Oil on canvas |
|
|
Term
|
Definition
Ernst Ludwig Kirchner, Street, Dresden, 1908 (dated 1907).
Oil on canvas, |
|
|
Term
|
Definition
Emil Nolde, Masks, 1911.
Oil on canvas |
|
|
Term
|
Definition
Vassily Kandinsky, Improvisation 28 (second version), 1912.
Oil on canvas |
|
|
Term
|
Definition
Pablo Picasso
Les Demoiselles
d’Avignon, 1907.
Oil on canvas |
|
|
Term
|
Definition
Pablo Picasso, Houses on the Hill, Horta de Ebro,
summer 1909 |
|
|
Term
|
Definition
Georges Braque
The Portuguese, 1911.
Oil on canvas |
|
|
Term
|
Definition
Pablo Picasso, Still Life with Chair-Caning, 1912.
Oil and oilcloth on canvas |
|
|
Term
|
Definition
| Pablo Picasso, Three Musicians, 1921. Oil on canvas |
|
|
Term
|
Definition
| PABLO PICASSO, Guernica, 1937. Oil on canvas |
|
|
Term
|
Definition
| Fernand Léger, Three Women (Le Grand Déjeuner), 1921. Oil on canvas |
|
|
Term
|
Definition
| Giacomo Balla, Dynamism of a Dog on a Leash, 1912. Oil on canvas |
|
|
Term
|
Definition
Umberto Boccioni,
Unique Forms of
Continuity in Space, 1913
(cast 1931). Bronze, |
|
|
Term
|
Definition
JEAN (HANS) ARP,
Collage Arranged According
to the Laws of Chance, 1916–
1917.
Torn and pasted paper |
|
|
Term
|
Definition
MARCEL DUCHAMP, Nude
Descending a Staircase, No. 2,
1912. Oil on canvas |
|
|
Term
|
Definition
Marcel Duchamp,
The Bride Stripped Bare by Her
Bachelors, Even (The Large Glass),
1915-23. Oil, lead, wire, foil,
dust, and varnish on glass |
|
|
Term
|
Definition
Marcel Duchamp, Fountain, (second version), 1950 (original
version produced 1917). Readymade glazed sanitary china
with black paint |
|
|
Term
|
Definition
Hannah Höch, Cut with the
Kitchen Knife Dada through the
Last Weimar Beer Belly Cultural
Epoch of Germany, 1919–1920.
Photomontage |
|
|
Term
|
Definition
Kurt Schwitters,
Merz 19, 1920. Paper
collage |
|
|
Term
|
Definition
| Otto Dix, Der Krieg (The War), 1929–1932. Oil and tempera on wood |
|
|
Term
|
Definition
| Salvador Dalí, The Persistence of Memory, 1931. Oil on canvas |
|
|
Term
|
Definition
| RENÉ MAGRITTE, The Treachery (or Perfidy) of Images, 1928–1929. Oil on canvas |
|
|
Term
|
Definition
| Joan Miró, Painting, 1933 |
|
|
Term
|
Definition
| Meret Oppenheim, Object (Le Déjeuner en fourrure), 1936 |
|
|
Term
|
Definition
ALBERTO GIACOMETTI, Man
Pointing, (no. 5 of 6), 1947 |
|
|
Term
|
Definition
Jackson Pollock, Number 1, 1950 (Lavender Mist), 1950.
Oil, enamel, and aluminum paint on canvas |
|
|
Term
|
Definition
Willem de Kooning
Woman I
1950-52
Oil on canvas |
|
|
Term
|
Definition
Barnett Newman. Vir Heroicus Sublimis. 1950-51
Oil on canvas |
|
|
Term
|
Definition
Mark Rothko
No. 3/No. 13
(Magenta, Black, Green on
Orange)
1949 |
|
|
Term
|
Definition
| Richard Hamilton. Just what is it that makes today's home so different so appealing? 1956. Collage |
|
|
Term
|
Definition
Jasper Johns. Flag. 1954-55
Encaustic, oil, and collage on fabric mounted on plywood |
|
|
Term
|
Definition
Robert Rauschenberg,
Canyon, 1959 |
|
|
Term
|
Definition
| Claus Oldenburg. Giant Hamburger. 1962. |
|
|
Term
|
Definition
Andy Warhol,
Green Coca-Cola Bottles, 1962. |
|
|
Term
|
Definition
| Andy Warhol, Marilyn Diptych, 1962 |
|
|
Term
|
Definition
Roy
Lichtenstein,
Hopeless, 1963 |
|
|
Term
|
Definition
Frank Stella
Zambezi, 1959
Oil on Canvas |
|
|
Term
|
Definition
|
|
Term
|
Definition
| Donald Judd. Untitled. 1966 |
|
|
Term
|
Definition
| Robert Morris, one-person exhibition, 1964 |
|
|
Term
|
Definition
Dan Flavin. diagonal
of May 25, 1963 (to
Constantin Brancusi) .
1963. yellow
fluorescent light. |
|
|
Term
|
Definition
| The first major american avant-garde movemnet, emerged in NYC in the 1940s. The artists produced abstract paintings that expressed their state of mind and that they hoped would strike emotional chords in viewers, 2 lines gestural and chromatic |
|
|
Term
|
Definition
| Also called tachism. a style of American abstract expressionist painting typified especially in the works of Jackson Pollack and Willem de Kooning in the 1940s, in which the furiously energetic and free application of the paint is seen as being expressive of the psychological and emotional state of the artist at the moment of creation. |
|
|
Term
|
Definition
| a painted or carved screen behind or above the altar or communion table in Christian churches; reredos. |
|
|
Term
|
Definition
| was developed only by Picasso and Braque during the winter of 1909-10. It lasted until the middle of 1912, when collage introduced simplified versions of the "analytic" forms. |
|
|
Term
|
Definition
| a technique of rendering depth or distance in painting by modifying the tone or hue and distinctness of objects perceived as receding from the picture plane, especially by reducing distinctive local colors and contrasts of light and dark to a uniform light bluish-gray color. |
|
|
Term
|
Definition
| 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. |
|
|
Term
|
Definition
| a semicircular or polygonal termination or recess in a building, usually vaulted and used especially at the end of a choir in a church. See diag. under basilica. |
|
|
Term
|
Definition
| a series of arches supported on piers or columns. |
|
|
Term
|
Definition
| a sculptural technique of organizing or composing into a unified whole a group of unrelated and often fragmentary or discarded objects. |
|
|
Term
|
Definition
| the advance group in any field, especially in the visual, literary, or musical arts, whose works are characterized chiefly by unorthodox and experimental methods. |
|
|
Term
|
Definition
| of or pertaining to a style of architecture and art originating in Italy in the early 17th century and variously prevalent in Europe and the New World for a century and a half, characterized by free and sculptural use of the classical orders and ornament, by forms in elevation and plan suggesting movement, and by dramatic effect in which architecture, painting, sculpture, and the decorative arts often worked to combined effect. |
|
|
Term
|
Definition
| an early Christian or medieval church of the type built especially in Italy, characterized by a plan including a nave, two or four side aisles, a semicircular apse, a narthex, and often other features, as a short transept, a number of small semicircular apses terminating the aisles, or an atrium. The interior is characterized by strong horizontality, with little or no attempt at rhythmic accents. All spaces are usually covered with timber roofs or ceilings except for the apse or apses, which are vaulted. |
|
|
Term
|
Definition
| a school of design established in Weimar in 1919 by Walter Gropius, moved to Dessau in 1926, and closed in 1933 as a result of Nazi hostility. |
|
|
Term
|
Definition
| Involves the modulation of colors throught the placement and size of coloured dots |
|
|
Term
|
Definition
| A nonrepresentational form or pattern that resembles a living organism in shape or appearance |
|
|
Term
|
Definition
| Uppermost portion of a column |
|
|
Term
|
Definition
| a full-scale design for a picture, ornamental motif or pattern, or the like, to be transferred to a fresco, tapestry, etc. |
|
|
Term
|
Definition
| the distribution of light and shade in a picture. |
|
|
Term
|
Definition
| a portion of an interior rising above adjacent rooftops and having windows admitting daylight to the interior. |
|
|
Term
|
Definition
| a technique of composing a work of art by pasting on a single surface various materials not normally associated with one another, as newspaper clippings, parts of photographs, theater tickets, and fragments of an envelope. |
|
|
Term
|
Definition
| a series of regularly spaced columns supporting an entablature and usually one side of a roof. |
|
|
Term
|
Definition
| of, pertaining to, or characteristic of abstract painting in which large, flat areas of color are spread to cover the entire canvas and dominate over form and texture. |
|
|
Term
|
Definition
| design in which coloumns are two or more stories tall |
|
|
Term
|
Definition
| a rigid, relatively slender, upright support, composed of relatively few pieces. |
|
|
Term
|
Definition
| name that robert raushenberg gave to his assemblages of painted passages and sculptural elements |
|
|
Term
|
Definition
| the relationship of these pairs of colors perceived as completing or enhancing each other. |
|
|
Term
|
Definition
| the act of combining parts or elements to form a whole. |
|
|
Term
|
Definition
| art in which emphasis is placed on the means and processes of producing art objects rather than on the objects themselves and in which the various tools and techniques, as photographs, photocopies, video records, and the construction of environments and earthworks, are used to convey the message to the spectator. |
|
|
Term
|
Definition
| a nonrepresentational style of art developed by a group of Russian artists principally in the early 20th century, characterized chiefly by a severely formal organization of mass, volume, and space, and by the employment of modern industrial materials. Compare suprematism. |
|
|
Term
|
Definition
| a representation of the human body in which the forms are organized on a varying or curving axis to provide an asymmetrical balance to the figure. |
|
|
Term
|
Definition
| to mark or shade with two or more intersecting series of parallel lines. |
|
|
Term
|
Definition
| a style of painting and sculpture developed in the early 20th century, characterized chiefly by an emphasis on formal structure, the reduction of natural forms to their geometrical equivalents, and the organization of the planes of a represented object independently of representational requirements. |
|
|
Term
|
Definition
| the style and techniques of a group of artists, writers, etc., of the early 20th century who exploited accidental and incongruous effects in their work and who programmatically challenged established canons of art, thought, morality, etc. |
|
|
Term
|
Definition
| an obsolete photographic process, invented in 1839, in which a picture made on a silver surface sensitized with iodine was developed by exposure to mercury vapor. |
|
|
Term
|
Definition
| a school of art that was founded in the Netherlands in 1917, embraced painting, sculpture, architecture, furniture, and the decorative arts, and was marked especially by the use of black and white with the primary colors, rectangular forms, and asymmetry. |
|
|
Term
|
Definition
| a group of German expressionist painters formed in Munich in 1911, including Kandinsky and Klee, who sought to express the spiritual side of man and nature, which they felt had been neglected by impressionism |
|
|
Term
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Definition
| was a group of German expressionist artists formed in Dresden in 1905, after which the Brücke Museum in Berlin was named. Founding members were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff. Later members were Emil Nolde, Max Pechstein and Otto Mueller. The group was one of the seminal ones, which in due course had a major impact on the evolution of modern art in the 20th century and created the style of Expressionism.[1] |
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| a pair of pictures or carvings on two panels, usually hinged together. |
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| drawing or design: a term used during the 16th and 17th centuries to designate the formal discipline required for the representation of the ideal form of an object in the visual arts, especially as expressed in the linear structure of a work of art. |
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| a vault, having a circular plan and usually in the form of a portion of a sphere, so constructed as to exert an equal thrust in all directions. |
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| painting that includs the patrons of the artist in to it |
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| Of the three columns found in Greece, Doric columns are the simplest |
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| a technique of engraving, especially on copper, in which a sharp-pointed needle is used for producing furrows having a burr that is often retained in order to produce a print characterized by soft, velvety black lines. |
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| The search for knowledge based on observation and direct experience |
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| a philosophical movement of the 18th century, characterized by belief in the power of human reason and by innovations in political, religious, and educational doctrine. |
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| the act or process of making designs or pictures on a metal plate, glass, etc., by the corrosive action of an acid instead of by a burin. |
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| a manner of painting, drawing, sculpting, etc., in which forms derived from nature are distorted or exaggerated and colors are intensified for emotive or expressive purposes. |
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| the front of a building, especially an imposing or decorative one. |
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| any of a group of French artists of the early 20th century whose works are characterized chiefly by the use of vivid colors in immediate juxtaposition and contours usually in marked contrast to the color of the area defined. |
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| representation, in art, of elegantly dressed groups at play in a rural or parklike setting. |
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| the heraldic bearing of the royal family of France. |
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| a name taken from a Latin word meaning "to flow"—is an international network of artists, composers and designers noted for blending different artistic media and disciplines in the 1960s. |
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| to reduce or distort (parts of a represented object that are not parallel to the picture plane) in order to convey the illusion of three-dimensional space as perceived by the human eye: often done according to the rules of perspective. |
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| an objects shape and structure either in 2D or 3D |
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| strict adherence to, or observance of, prescribed or traditional forms, as in music, poetry, and art. |
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| Also called buon fresco, true fresco. the art or technique of painting on a moist, plaster surface with colors ground up in water or a limewater mixture. |
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| the technique of painting in watercolors on dry plaster. |
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| a style of the fine arts developed originally by a group of Italian artists about 1910 in which forms derived chiefly from cubism were used to represent rapid movement and dynamic motion. |
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| paintings in which scenes of everyday life form the subject matter. |
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| to cover (a painted surface or parts of it) with a thin layer of transparent color in order to modify the tone. |
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| refers to an idealized aesthetic style derived from classical art, and the modern "classic art" of the High Renaissance. In the eighteenth century, British artists and connoisseurs used the term to describe paintings that incorporated visual metaphors in order to suggest noble qualities |
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| monochromatic painting in shades of gray. |
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| an organization of persons with related interests, goals, etc., especially one formed for mutual aid or protection. |
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| Term coined by american artist alan kaprow in the 60 to describe loosely structured performances whose creators were trying to suggest the aesthetic and dynamic qualities of everyday life |
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| a variety of ethical theory and practice that emphasizes reason, scientific inquiry, and human fulfillment in the natural world and often rejects the importance of belief in God. |
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| a technique of using pictorial methods in order to deceive the eye. Compare trompe l'oeil. |
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| the laying on of paint thickly. |
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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. |
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| an artwork that creates an artistic environment in a room or gallery |
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| The Ionic order (Greek: Ιωνικός ρυθμός) forms one of the three orders or organizational systems of classical architectur |
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| the category of aesthetic subject matter in which natural scenery is represented. |
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| a print produced by lithography. |
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| a style in the fine arts developed principally in Europe during the 16th century, chiefly characterized by a complex perspectival system, elongation of forms, strained gestures or poses of figures, and intense, often strident color. |
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| Catholic and Orthdox ritual that stuff |
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| an object, as a skull, serving as a reminder of death or mortality. |
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| a chiefly American style in painting and sculpture that developed in the 1960s largely in reaction against abstract expressionism, shunning illusion, decorativeness, and emotional subjectivity in favor of impersonality, simplification of form, and the use of often massive, industrially produced materials for sculpture, and extended its influence to architecture, design, dance, theater, and music. |
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| A movement in western art that developed in the second half of the 1800s and sought to capture the images and sensibilities of the age. |
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| a large picture painted or affixed directly on a wall or ceiling. |
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| style of art and architecture that emerged in the late 18th as part of a general revival of interest in classical cultures. |
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| the theory and practice of the de Stijl group, chiefly characterized by an emphasis on the formal structure of a work of art, and restriction of spatial or linear relations to vertical and horizontal movements as well as restriction of the artist's palette to black, white, and the primary colors. |
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| Movement in German painting of the 1920s and early 1930s reflecting the cynicism and resignation of the post-World War I period. The term was coined in 1925 by Gustav Hartlaub, director of the Mannheim Kunsthalle, for an exhibition including works by George Grosz, Otto Dix, and Max Beckmann, the movement's leading exponents. They worked in a realistic style, as opposed to the prevailing styles of abstraction and Expressionism, using meticulous detail to portray evil in smooth, cold, and static images derived from Italian Metaphysical painting for the purpose of violent social satire. The movement ended in the 1930s with the rise of Nazism. |
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| a circular opening, especially one at the apex of a dome. |
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| the art or technique of painting with oil colors. |
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| classical architecture a style represented by a characteristic design of the columns and entablature |
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| a thin blade of varying flexibility set in a handle and used for mixing colors or applying them to a canvas. |
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| a technique of depicting volumes and spatial relationships on a flat surface. |
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| a shallow rectangular feature projecting from a wall, having a capital and base and usually imitating the form of a column. |
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| quality of light and atmosphere out of doors, especially this quality as rendered in painting. |
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| a theory and technique developed by the neo-impressionists, based on the principle that juxtaposed dots of pure color, as blue and yellow, are optically mixed into the resulting hue, as green, by the viewer. |
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| an art movement that began in the U.S. in the 1950s and reached its peak of activity in the 1960s, chose as its subject matter the anonymous, everyday, standardized, and banal iconography in American life, as comic strips, billboards, commercial products, and celebrity images, and dealt with them typically in such forms as outsize commercially smooth paintings, mechanically reproduced silkscreens, large-scale facsimiles, and soft sculptures. |
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| a varied development of Impressionism by a group of painters chiefly between 1880 and 1900 stressing formal structure, as with Cézanne and Seurat, or the expressive possibilities of form and color, as with Van Gogh and Gauguin. |
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| any of a number of trends or movements in the arts and literature developing in the 1970s in reaction to or rejection of the dogma, principles, or practices of established modernism, especially a movement in architecture and the decorative arts running counter to the practice and influence of the International Style and encouraging the use of elements from historical vernacular styles and often playful illusion, decoration, and complexity. |
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| a recurrent theory or belief, as in philosophy or art, that the qualities of primitive or chronologically early cultures are superior to those of contemporary civilization. |
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| comparative relation between things or magnitudes as to size, quantity, number, etc.; ratio. |
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| treatment of forms, colors, space, etc., in such a manner as to emphasize their correspondence to actuality or to ordinary visual experience. Compare idealism ( def 4 ) , naturalism ( def 2 ) . |
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| noting or pertaining to a style of painting developed simultaneously with the rococo in architecture and decoration, characterized chiefly by smallness of scale, delicacy of color, freedom of brushwork, and the selection of playful subjects as thematic material. |
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| the Romantic style or movement in literature and art, or adherence to its principles ( contrasted with classicism ). |
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| member of the french royal academy of painting and sculpture |
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| italian smoky a smokelike haziness that subtly softens outlines in painting |
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| is artwork created to exist in a certain place |
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| a representation chiefly of inanimate objects, as a painting of a bowl of fruit. |
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| a distinctive artistic manner. |
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| technique of painting in which an emulsion consisting of water and pure egg yolk or a mixture of egg and oil is used as a binder or medium, characterized by its lean film-forming properties and rapid drying rate. |
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| a round painting or relief. |
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| any major transverse part of the body of a church, usually crossing the nave, at right angles, at the entrance to the choir. |
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| a cloverlike ornament or symbol with stylized leaves in a group of three |
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| a point of disappearance, cessation, or extinction: His patience had reached the vanishing point. |
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| a carved block of wood from which prints are made. |
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