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| Having no color without identifiable hue. Most blacks, whites, grays and browns. |
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| A clear plastic used as a binder in paint and as a casting material in sculpture. |
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| The philosophy of art focusing on questions regarding what art is |
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| visual image that remains after an initial stimulus is removed |
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| a representation of an abstract or spiritual meaning through concrete or material forms; figurative treatment of one subject under the guise of another. |
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| an aisle surrounding the end of the choir or chancel of a church. |
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| colors sit next to each other on the color wheel. They tend to look pleasant together because they are closely related. |
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| an opening, usually circular, that limits the quantity of light that can enter an optical instrument. |
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| any type of art done with a practical application; the application of design and aesthetics to objects of function and everyday use |
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| a semicircular or polygonal termination or recess in a building, usually vaulted and used esp. at the end of a choir in a church. |
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| a bridgelike structure that carries a water conduit or canal across a valley or over a river. |
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| a series of arches supported by column or piers |
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| a skeletal framework built as a support on which a clay, wax, or plaster figure is constructed. |
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| a trial print, usually made as an artist works on a plate or block to check work |
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| The strongest and most suitable stonework for monumental architecture |
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| 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, esp. by reducing distinctive local colors and contrasts of light and dark to a uniform light bluish-gray color. |
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| arrangement of parts achieving a state of equilibrium between opposing forces or influence. |
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| 17th century period in Europe characterized in the visual arts by dramatic lights and shades |
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| semicircular arch extended in depth; a continuing series of arches one behind the other |
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| an early Christian or medieval church of the type built esp. 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. |
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| 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. |
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| material used in paint that causes pigment particles to adhere to one another |
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| a person who has attained prajna, or Enlightenment, but who postpones Nirvana in order to help others to attain Enlightenment |
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| a book containing the prescribed order of prayers, readings from Scripture, and rites for the canonical hours. |
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| a tempered steel rod, with a lozenge-shaped point and a rounded handle, used for engraving furrows in metal. |
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| any external prop or support built to steady a structure by opposing its outward thrusts, esp. a projecting support built into or against the outside of a masonry wall. |
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| noting or pertaining to the architecture of the ________ and to architecture influenced by or imitating it: characterized by masonry construction, round arches, impost blocks, low domes on pendentives, the presence of fine, spiky foliage patterns in low relief on stone capitals and moldings, and the use of frescoes, mosaics, and revetments of fine stone to cover whole interiors. |
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| a darkened boxlike device in which images of external objects, received through an aperture, as with a convex lens, are exhibited in their natural colors on a surface arranged to receive them: used for sketching, exhibition purposes, etc. |
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| a bracket for supporting a balcony, cornice, etc. |
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| a full-scale design for a picture, ornamental motif or pattern, or the like, to be transferred to a fresco, tapestry, etc. |
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| to form (an object) by pouring metal, plaster, etc., in a fluid state into a mold and letting it harden. |
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| the principal church of a diocese, containing the bishop's throne. |
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| of or pertaining to products made from clay and similar materials, as pottery and brick, or to their manufacture |
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| the use of deep variations in and subtle gradations of light and shade, esp. to enhance the delineation of character and for general dramatic effect |
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| the part of a cruciform church east of the crossing |
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| a long, thin board, thicker along one edge than the other, used in covering the outer walls of buildings, being laid horizontally, the thick edge of each board overlapping the thin edge of the board below it. |
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| one of a number of sunken panels, usually square or octagonal, in a vault, ceiling, or soffit. |
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| 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. |
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| a series of regularly spaced columns supporting an entablature and usually one side of a roof. |
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| one of a pair of primary or secondary colors opposed to the other member of the pair on a schematic chart or scale (color wheel), as green opposed to red, orange opposed to blue, or violet opposed to yellow. |
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| the organization or grouping of the different parts of a work of art so as to achieve a unified whole. |
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| 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. |
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| have been called “Bibles in stone.” Sculpture recounting the heroic deeds of kings and generals are common, especially in Assyria and Rome |
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| a line joining points of equal elevation on a surface. |
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| 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. |
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| the blues and greens of the color spectrum, associated with water, sky, ice, and cooler temperatures |
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| to mark or shade with two or more intersecting series of parallel lines. |
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| 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. |
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| an exterior wall having no structural function |
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| consisting of or bounded by curved lines |
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| hangings, clothing, etc., as represented in sculpture or painting. |
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| to fit (furniture) around and between pages in a chase prior to locking it up. |
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| a technique of engraving, esp. 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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| an artistic work that consists of a large-scale alteration or modification of an area of land in a configuration designed by an artist or of an artist's sculptural installation, as in a museum or gallery, of soil, rock, or similar elemental materials |
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| one of a series of printings of the same book, newspaper, etc., each issued at a different time and differing from another by alterations, additions, etc. |
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| a drawing or design that represents an object or structure as being projected geometrically on a vertical plane parallel to one of its sides. |
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| painted with wax colors fixed with heat, or with any process in which colors are burned in. |
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| a slight convexity given to a column or tower, as to correct an optical illusion. |
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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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| the front of a building, esp. an imposing or decorative one. |
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| a chemical substance, as sodium thiosulfate, used to promote fixation. |
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| something having ornamental grooves, as a Greek column |
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| a segmental arch transmitting an outward and downward thrust to a solid buttress that through its inertia transforms the thrust into a vertical one. |
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Definition
artistic works, as paintings, sculpture, basketry, and utensils, produced typically in cultural isolation by untrained often anonymous artists or by artisans of varying degrees of skill and marked by such attributes as highly decorative design, bright bold colors, flattened perspective, strong forms in simple arrangements, and immediacy of meaning.
Origin: |
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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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| the organization, plan, style, or type of something |
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| 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 part of a classical entablature between the architrave and the cornice, usually decorated with sculpture in low relief. |
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| a genre depicting everyday life |
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| a thin layer of transparent color spread over a painted surface. |
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| A method of painting with opaque watercolors mixed with a preparation of gum. |
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| a water-soluble, gummy exudate obtained from the acacia tree, esp |
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| the property of light by which the color of an object is classified as red, blue, green, or yellow in reference to the spectrum. |
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| the property of light by which the color of an object is classified as red, blue, green, or yellow in reference to the spectrum. |
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| symbolic representation, esp. the conventional meanings attached to an image or images. |
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| the laying on of paint thickly. |
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| visually suggested by the arrangement of forms, lights and darks, or other elements in a work of art |
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| situated in the original, natural, or existing place or position |
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| a process in which a design, text, etc., is engraved into the surface of a plate so that when ink is applied and the excess is wiped off, ink remains in the grooves and is transferred to paper in printing, as in engraving or etching |
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Definition
| the strength or sharpness of a color due esp. to its degree of freedom from admixture with its complementary color. |
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| first woodcut used for printing |
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| the wedge-shaped piece at the summit of an arch, regarded as holding the other pieces in place |
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| a furnace or oven for burning, baking, or drying something, esp. one for firing pottery, calcining limestone, or baking bricks. |
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| A sculpture representing a standing young woman clothed in long robes, especially one produced in Greece before the fifth century B.C |
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| a sculptured representation of a young man, esp. one produced prior to the 5th century b.c. |
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| a mark or stroke long in proportion to its breadth, made with a pen, pencil, tool, etc., on a surface |
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| a mathematical system for representing three-dimensional objects and space on a two-dimensional surface by means of intersecting lines that are drawn vertically and horizontally and that radiate from one point (one-point perspective), two points (two-point perspective), or several points on a horizon line as perceived by a viewer imagined in an arbitrarily fixed position. |
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| a horizontal architectural member supporting the weight above an opening, as a window or a door. |
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| a combining form meaning “stone” |
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| the art or process of producing a picture, writing, or the like, on a flat, specially prepared stone, with some greasy or oily substance, and of taking ink impressions from this as in ordinary printing. |
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Definition
| the natural color of a particular object as it appears in normal light. |
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| a schematized representation of the cosmos, chiefly characterized by a concentric configuration of geometric shapes, each of which contains an image of a deity or an attribute of a deity. |
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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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| the original text of an author's work, handwritten or now usually typed, that is submitted to a publisher |
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Definition
| (in a press or stamping machine) a multiple die or perforated block on which the material to be formed is placed |
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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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| the technique of combining in a single composition pictorial elements from various sources, as parts of different photographs or fragments of printing, either to give the illusion that the elements belonged together originally or to allow each element to retain its separate identity as a means of adding interest or meaning to the composition |
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| a picture or decoration made of small, usually colored pieces of inlaid stone, glass, etc. |
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| a Muslim temple or place of public worship |
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| a large picture painted or affixed directly on a wall or ceiling |
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| the principal longitudinal area of a church, extending from the main entrance or narthex to the chancel, usually flanked by aisles of less height and breadth: generally used only by the congregation. |
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| of, pertaining to, or designating a style of painting and sculpture developed principally from the mid-18th through the mid-19th centuries, characterized chiefly by an iconography derived from classical antiquity, a hierarchical conception of subject matter, severity of composition and, esp. in painting, by an oblique lighting of forms in the early phase and a strict linear quality in the later phase of the style. |
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| gray; without hue; of zero chroma; achromatic |
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| A painting of a night scene |
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| not representing objects known in physical nature; nonrepresentationa |
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| a circular opening, esp. one at the apex of a dome. |
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Definition
| not transparent or translucent; impenetrable to light; not allowing light to pass through. |
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| of or pertaining to the shapes or forms in a work of art that are of irregular contour and seem to resemble or suggest forms found in nature. |
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| a film or incrustation, usually green, produced by oxidation on the surface of old bronze and often esteemed as being of ornamental value. |
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Definition
| a low gable, typically triangular with a horizontal cornice and raking cornices, surmounting a colonnade, an end wall, or a major division of a façade |
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Definition
| any of several spandrels, in the form of spherical triangles, forming a transition between the circular plan of a dome and the polygonal plan of the supporting masonry. |
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Definition
| the plane of a painting, drawing, or the like, that is in the extreme foreground of a picture, is coextensive with but not the same as the material surface of the work, is the point of visual contact between the viewer and the picture, and is conceived as a major structural element in the production of abstract or illusionistic forms. |
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Definition
| a dry insoluble substance, usually pulverized, which when suspended in a liquid vehicle becomes a paint, ink, etc |
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Definition
| 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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Definition
| a mark made on paper by the edge of an intaglio plate during printing. |
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Definition
| 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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Definition
| a color, as red, yellow, or blue, that in mixture yields other colors |
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Definition
| symmetry, harmony, or balance |
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Definition
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Definition
| a patterned repetition of a motif, formal element, etc., at regular or irregular intervals in the same or a modified form. |
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| a style of architecture and decoration, originating in France about 1720, evolved from Baroque types and distinguished by its elegant refinement in using different materials for a delicate overall effect and by its ornament of shellwork, foliage, etc. |
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| a stone coffin, esp. one bearing sculpture, inscriptions, etc., often displayed as a monument. |
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Definition
| any thin, platelike piece, lamina, or flake that peels off from a surface, as from the skin |
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| a person who practices the art of sculpture |
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| a color, as orange, green, or violet, produced by mixing two primary colors. |
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Definition
| a recession of the upper part of a building from the building line, as to lighten the structure or to permit a desired amount of light and air to reach ground level at the foot of the building. |
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Definition
| the subtle and minute gradation of tone and color used to blur or veil the contours of a form in painting. |
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Definition
| the degree of darkness of a color, determined by the quantity of black or by the lack of illumination |
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Definition
| the quality of a distinct object or body in having an external surface or outline of specific form or figure |
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Definition
| to move, flow, pass, or go smoothly or easily; glide |
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Definition
| a particular kind, sort, or type, as with reference to form, appearance, or character |
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Definition
| is the oldest form of sculpture and involves removing material, as in wood carving or stone sculpture, to create a finished work |
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Definition
| something used for or regarded as representing something else |
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Definition
| is a style of painting using violent contrasts of light and dark |
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Definition
| one of the small pieces used in mosaic work. |
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Definition
| the characteristic visual and tactile quality of the surface of a work of art resulting from the way in which the materials are used. |
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Definition
| a color or a variety of a color; hue |
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Definition
| a round painting or relief. |
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Definition
| a rough surface created on a paper made for charcoal drawing, watercolor, or the like, or on canvas for oil painting |
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Definition
| 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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Definition
| visual deception, esp. in paintings, in which objects are rendered in extremely fine detail emphasizing the illusion of tactile and spatial qualities. |
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Definition
| any of various structural frames constructed on principles other than the geometric rigidity of the triangle or deriving stability from other factors, as the rigidity of joints, the abutment of masonry, or the stiffness of beams. |
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Definition
| a greaselike liquid used in lithography as a medium receptive to lithographic ink, and in etching and silkscreen as a resist |
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| two-and-three-dimensional |
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Definition
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Definition
| a whole or totality as combining all its parts into one. |
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Definition
| degree of lightness or darkness in a color. |
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Definition
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Definition
| any of the pieces, in the shape of a truncated wedge, that form an arch or vault. |
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Definition
| the yellows and reds of the color spectrum, associated with fire, heat, sun, and warmer temperatures |
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Definition
| to cover with a watery or thin coat of color |
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Definition
| a carved block of wood from which prints are made. |
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