Term
|
Definition
| : Faith Ringgold, Tar Beach, acrylic on canvas bordered with printed, painted, quilted and pieced cloth, 1988 (29-68) |
|
|
Term
|
Definition
Michelangelo, Sistine Ceiling, 1508-12 & Last Judgment, 1534-41 fresco, Vatican, Rome (18-13, 18-14 &18-46)
|
|
|
Term
| visual or formal analysis: |
|
Definition
| This type of analysis attempts to understand what an artist is trying to convey visually through their choice of formal elements such as; color, line, space, mass and scale. (Nolan Schlichter) |
|
|
Term
|
Definition
| refers to the different hues used by an artist. An artist may use use within a particular range or group on the color wheel. Hues with a vivid appearance are said to be saturated, while hues that are hard to distinguish are unsaturated. Value describes the lightness or darkness of a hue. |
|
|
Term
|
Definition
a visual shape who's length is so much greater than its other dimensions that it appears only to be a path traveling through space. (Sean Dennis)
|
|
|
Term
|
Definition
whether an image conveys a sense of three-dimensional (John Vang)
|
|
|
Term
|
Definition
matter that takes up space and volume is enclosed or defined space (Brianna Hirst)
|
|
|
Term
|
Definition
size both within the work and in relation to the viewer (John Vang)
|
|
|
Term
|
Definition
an element of design; refers to the placement of objects or images in a work. (Carly Wright)
|
|
|
Term
|
Definition
material(s) from which a work of art is made (Brianna Hirst)
|
|
|
Term
|
Definition
|
|
Term
|
Definition
The interpretation of a work of art in terms of its culture and period (i.e. social, political, religious, economic contexts). Also takes into account the original intent of the artist, and how the work of art was received by the public. (Erin Poor)
|
|
|
Term
|
Definition
The person or people who commissions the artist to make a work of art. Often times shown in the artwork, such as Massacio's "Trinity", where the patrons sit on the outside of the illusional niche. (Mollie Linn)
|
|
|
Term
|
Definition
| Taos Pueblo, New Mexico - Tiwa speakers (c.1550, rebuilt c. 1700) (23-18 |
|
|
Term
|
Definition
| This word means "Vanished People" (and thus is not the preferred term), and it refers to the hill-dwellers who preceded the Pueblo in the American southwest. They built hillside dwellings in the rock on a large scale but eventually vanished, likely because of a severe drought. Later the Pueblo occupied the same land and developed an analogous building style that was more dependent on adobe than sheer rock. (I.S.H.) |
|
|
Term
|
Definition
| clay used in Pueblo architecture ....made up of dung, clay, mud, straw, sand, etc. (Phil Kennedy). Building material mixed from clay, sand, and straw, dung or other fibrous materials, usually in the form of sun-dried bricks (Brianna Hirst). Adobe is used by people in desert regions throughout the world. For example, both Taos Pueblo in New Mexico and the Great Mosque in Djenne, Mali, are made of adobe. These two distinct structures share a need for constant repair and resurfacing, which is done by the entire community. In both cultures, this establishes a sense of common ownership and strengthens the community. Adobe structures may last for a very long time because they are constantly maintained and highly adaptable - unlike many ancient Roman and Greek buildings which now lay in ruins (Christian Balzer). |
|
|
Term
|
Definition
| In peublo architecture, the wood beams that are brought down from the mountains (E.W.) |
|
|
Term
|
Definition
| the lattice between the beams (E.W) |
|
|
Term
|
Definition
| square walled structures used by pueblo cultures usually for religious purposes or spiritual ceremonies. (Phil Kennedy) |
|
|
Term
|
Definition
| urban public and open space. One good example is St. Peter's Plaza in Vatican City added by Bernini using the "arms" of the colonnade to draw people in (Counter-Reformation) (Phil Kennedy). |
|
|
Term
|
Definition
| "the emergence place" or "breathing place" from which a spirit emerges and is ever-present. It gives the Pueblos a sense of being tied to the earth and a reminder of the creation of the universe and flow of the earth's energy. Architecture is often centered around one of these spots. (Laura Sancken) |
|
|
Term
| Bureau of Indian Affairs golden age of constructing schools (c. 1890-1930): |
|
Definition
|
|
Term
|
Definition
| Attributed to Willie Seaweed, Kwakwaka’wakw Bird Mask, carved & painted cedar wood, cedar bark, feathers & fiber, before 1951 (23-17) |
|
|
Term
|
Definition
| Of or pertaining to one of the many cultures present in North America before European settlement. |
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
| Canadian Native American Act: |
|
Definition
|
|
Term
|
Definition
| An anthropologist who researched the Northwest Coast Indians and recreated scenes depicting their lifesyle in museums. (Kaley Huettl) |
|
|
Term
|
Definition
| Ceremonies of the Northwest American Indians that were used to uphold status in society. The festivals could celebrate many things such as important rites of passage like marriage or birth. They were held outdoors or in longhouses and could be intertribal or involve many tribes. (C.B.) This term is also used today to describe a meal where each individual is expected to bring an offering. (Potlatch dinner)-Tom G |
|
|
Term
|
Definition
| A continuous, shape-defining line. The Chilkat blanket is a great example; its formline swells and defines shapes with gentle curves, ovoids, and rectangular C shapes. (p. 850). (Hannah Sorenson) |
|
|
Term
|
Definition
| A place where the public can view artwork and learn about the worlds rich and diverse artistic history. |
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
| Titian, Pesaro Madonna, 1519-26, oil on canvas, side aisle altarpiece, Santa Maria Gloriosa dei Frari, Venice. [18-26] |
|
|
Term
|
Definition
| A graphic convention for representing the arrangement of the parts of a building. (Hannah Sorenson) |
|
|
Term
|
Definition
| The central aisle of a Roman Basilica. *ADDITION* Usually 2-3 stories high and flanked by side aisles (Hannah Sorenson) |
|
|
Term
|
Definition
| The horizontal section of a cathedral that runs perpendicular to the nave, resulting in "the crossing" where the two parts cross. |
|
|
Term
|
Definition
| the area of space that creates the unit of measurement on which the whole church design is based. It emphasizes the ideas of classical and perfect proportions as well as clear, rational, and ordered arrangement (E.W.) Also is the circular junction of the nave and transept creating the circle inside a cross design which is seen as a divine symbol (Nolan Schlichter). |
|
|
Term
|
Definition
| The area in a church above the crossing in which the altar is placed. |
|
|
Term
|
Definition
| A passageway parallel to the Nave of a Roman Basilica/church and separated from the nave by an arcade or colonnade. (P.C.) |
|
|
Term
|
Definition
| Small devotional spaces, often in Churches or Cathedrals, dedicated to a specific Saint or other religious figure. These spaces are frequently sponsored by wealthy and powerful individuals and/or families. |
|
|
Term
|
Definition
| A wealthy family in Italy. Cosimo de Medici the Elder created an academy dedicated to the study of the classics (p. 610). This family was also the patron for many of Boticcelli's works including "Primavera" and "The Birth of Venus"; both these were secular paintings inspired by ancient works and contemporary neoplatonic thought. (Hannah Sorenson) |
|
|
Term
|
Definition
| Pesaro was commander of the papal fleet that defeated the Turks. He commisioned Titian to paint a work commemorating the event, Pesaro Madonna. This work displayed Pesaro leading a Turk to St. Peter symbolizing Christian superiority. |
|
|
Term
|
Definition
| Michelangelo, David, marble, 1501-04 (18-12) |
|
|
Term
|
Definition
| Matthias Grünewald, Isenheim Altarpiece, oil on wood panel, ca. 1510-15. (Know the closed and the first opening positions, Stokstad figs. 18-32 and 18-33.) |
|
|
Term
|
Definition
| Bernini, Cornaro Chapel, Rome, marble, 1642-45. [19-8/9] |
|
|
Term
|
Definition
|
|
Term
| Renaissance (High or Classical): |
|
Definition
| These works assume a monumental and public form. Often there is more freedom in the work and more movement throughout space as opposed to linear aspects and more symbolic presence. There is also a deeper interest in classical and imperial. (E.W.) |
|
|
Term
|
Definition
| An anti-classical movement in which focus was placed on exaggeration, off-balance poses and the unnatural. |
|
|
Term
|
Definition
| (1600-1720) A time period in which the Catholic church wanted to encourage religious art with direct emotional involvement. expansiveness in space, grandeur, drama; irrational, emotional; abundant amount of details, often bright polychromy, less realistic faces of subjects, and an overall sense of awe |
|
|
Term
|
Definition
| Donatello: first nude of David |
|
|
Term
|
Definition
| an Italian term meaning "set against," used to describe the twisted pose resulting from parts of the body set in opposition to each other around a central axis" (Stokstad Glossary). This classical form is epitomized by Michaelangelo's David, and was utilized by many Renaissance sculptors. In the Baroque period, Bernini's sculptures shifted away from this calm repose to more dynamic forms. |
|
|
Term
|
Definition
| the depiction of the last events in the life of Jesus (Michelangelo's Pieta) (Brianna Hirst) |
|
|
Term
|
Definition
| works where Mary supports and mourns the dead Jesus (E.W.) |
|
|
Term
|
Definition
| skin disease from fungus (Grunewall. IsenHeim? Altarpiece glorified suffering and offered comfort for those with disease) |
|
|
Term
|
Definition
| (1483-1546) German university professor who confronted Charles V about Catholic theology. Sparked the Reformation. Had issues with salvation by works and the infallibility of the pope. (Brianna Hirst) |
|
|
Term
|
Definition
| Movement started in 1520 by Martin Luther. This movement questioned both Catholic doctrine as well as papal authority. Caused a rift in the church and many pieces of art at this time reflected the chaos and anguish reflected by the Catholic church. (Nolan Schlichter) |
|
|
Term
|
Definition
| Movement led by the Catholic Church in direct response to the Reformation movement. This consisted of numerous reformations within the Catholic Church as well as a move towards increasing the role of the congregation. Out of this movement came a shift from the Renaissance into the Baroque which displayed more free, dynamic, emotional works that mirrored the reformations of the church and which strived to make an emotional impact on the congregation. (Nolan Schlichter) |
|
|
Term
|
Definition
| Primordial couple, wood, 16th-19th century (Perani & Smith Fig. 2.6). |
|
|
Term
|
Definition
|
|
Term
|
Definition
| a tall sandstone cliff that runs about 150 km through the nation of Mali and is considered the center of the Dogon culture. Many Dogon villages are built into, and nearby the cliff. |
|
|
Term
|
Definition
| supreme creator according to Dogon mythology (Brianna Hirst) |
|
|
Term
|
Definition
| Dogon diety that was the first living creature created by the sky god Amma. The Nommo multiplied. (Brianna Hirst) |
|
|
Term
|
Definition
| a component of the religious beliefs of the Dogon tribes, Binu are secondary spirits (below Amma and Nommo) who manifest themselves as animals. They are believed to be "the ancestors that lived on the Earth before death was introduced into the world" (Rohn, lecture 3/5) |
|
|
Term
|
Definition
| Located in the Eastern Guinea Coast, were an early traditional state society that developed and focused on urbanization and instituting a divine kingship, which still continues today. They depended on trade and commerce as a basis for their economic system.(Erin Poor) |
|
|
Term
|
Definition
| Olowe of Ise, Veranda Pillars Yoruba courtyard at Ikerre, Nigeria, before 1938 (Perani & Smith Fig. 5.19). |
|
|
Term
|
Definition
| Ancient Yoruba city where the creation of the world took place (Brianna hirst) |
|
|
Term
|
Definition
| Creator of the universe in Yoruba culture (Brianna Hirst) |
|
|
Term
|
Definition
| Founder of Ife and first Yoruba Oni (King). (Brianna Hirst) |
|
|
Term
|
Definition
| Deities who serve as an intermediates between Olodumare (the Yoruba creator god) and humans. Eshu is one of the most popular/represented Orishas. (Justina Effler) |
|
|
Term
|
Definition
| vital life force and power (Yoruba culture) |
|
|
Term
|
Definition
Yoruba practice of evoking wisdom.
System consulted for advice in fixing earthly problems |
|
|
Term
|
Definition
| Saint Peter’s Basilica, Rome, Italy: Bramante’s scheme, 1506 |
|
|
Term
|
Definition
| , Michelangelo’s campaign, 1546-64, |
|
|
Term
|
Definition
| Carlo Maderno’s plan & façade, 1607-12 (p. 663; 18-43; 19-3) |
|
|
Term
|
Definition
| Gianlorenzo Bernini, Piazza St. Peter, Vatican, Rome, c.1656-57. [19-3; Anella 4-15] |
|
|
Term
|
Definition
| Francesco Borromini, San Carlo alle Quattro Fontane, Rome, 1638-41 (structure) &1665-67 (façade). [19-4/5/6] |
|
|
Term
|
Definition
| A large, impressive Christian Church, traditionally the seat of the presiding Bishop in a Roman Catholic Diocese. |
|
|
Term
|
Definition
| A round vault, usually over a circular space. An example is the Duomo in Florence. (Danny Able) |
|
|
Term
|
Definition
| A circular wall that supports a dome. (Danny Able) |
|
|
Term
|
Definition
| A round window or opening in a dome, a classical architectural structure (Nik) |
|
|
Term
|
Definition
| Structural curved beams that helped to support buildings especially common in domes and cathedrals. Tom G |
|
|
Term
|
Definition
| A structure that is placed on top of a dome usually including a spire on top. An example of a lantern may be seen on top of Brunelleschi's dome. Lanterns are decorative, but also close the whole created by the dome and sometimes allow light into the structure beneath. (Amanda Carter) |
|
|
Term
|
Definition
| A large rectangular building originally used as a Roman center for administration and later adapted to Christian church use. Old Saint Peter's is a good example. (Bonnie Steward) |
|
|
Term
|
Definition
| The triangle on top of the portico signifying the main entrance. Typically used in classical architecture. (Phil Kennedy) |
|
|
Term
|
Definition
| A series of arches supported by columns, piers, or pillars, either freestanding or attached to a wall to form a gallery. Often separates the side aisles and nave in a church, especially basilicas. |
|
|
Term
|
Definition
| Pillar used for support especially in classical architecture. There are a variety of different orders, such as the Ionic order on Steensland Hall. (Phil Kennedy) |
|
|
Term
|
Definition
| a column attached to a wall (Brigi Varley) |
|
|
Term
|
Definition
| a flattened column along in an arcade (examples of where to see this would be inside or church or in a central courtyard) (C Stevens) |
|
|
Term
|
Definition
| a recessed decorative panel that is used to reduce the weight of and to decorate ceilings or vaults (Brigi Varley) |
|
|
Term
|
Definition
| the juncture of the nave and the transept in a church, often marked on the exterior by a tower or dome (Brigi Varley) |
|
|
Term
|
Definition
| The smaller "arms" that come off of the nave that forms a cross shape. (Phil Kennedy) |
|
|
Term
|
Definition
|
|
Term
|
Definition
| Ten Books on Architecture:A first century work by a Roman architect. It defined fine architecture as embodying strength, utility, and beauty. It also defined the "hierarchy of orders" of architecture-Tuscan, Doric, Ionic, and Corinthian. This work inspired many Renaissance architects. (Danny Able) |
|
|
Term
|
Definition
| A basilica built by Constantine (the first Christian Roman emperor) in the fourth century CE in Rome. It was demolished in 1506 and rebuilt over the next century by a succession of famous architects (Bramante, Michelangelo, Maderno). (Bonnie Steward) |
|
|
Term
|
Definition
| Any structure designed with a primary central space surrounded by symmetrical areas on each side. A good example is a Greek-cross plan. (Bonnie Steward) |
|
|
Term
|
Definition
| A recess or hollow found in a wall; can be used to display objects and may be found in interiors or exteriors. (Nik) |
|
|
Term
|
Definition
| Elected in 1503, and was sign of great resurgence in power of the papacy. During ten years of reign, fought wars and formed alliances to consolidate his power. Enlisted many artists to carry out vision of "revitalizing Rome". One of the artists he enlisted was Bramante (architect for the "Tempietto"). (See page 662). In 1505, he also arranged for Michelangelo to come to Rome. Saw him as equal. Had first arranged that Michelangelo would work on his tomb, but that was set aside in 1506 when he ordered Michelangelo to redecorate the ceiling of the Sistine Chapel. Died in 1513. (Hannah Sorenson) |
|
|
Term
|
Definition
| concept or idea or theme for a piece of art (Bernini) |
|
|
Term
|
Definition
| In 1634, these monks decided to build a new church at the site of the crossing of two major avenues in Rome; the award the commission for "San Carlo alle Quattro Fontane" to Francesco Borromini (the nephew of Carlo Maderno: responsible for facade of St. Peter's Basilica). These monks, after the church was finished, received requests for its plans from visitors all over Europe. (See pgs 725-6). (Hannah Sorenson). |
|
|
