Term
|
Definition
Imitation is copying someone.
Emulation is is copying but meeting or exceeding that person's achievement or good deeds.
The main idea of art at the time was imitation and emulation, you copied masters to gain skill, but in the end the goal was to emulate while improving on the previous work and establish a style. |
|
|
Term
|
Definition
Cross-hatching and hatching.
Required a lot of skill because each line is permanent and purposeful or it can but used as a responsive medium. Unplanned it can cause mistakes which can lead to invention in response, the ability to shift your plans.
Cennini - "if you practice with a pen you will because an expert, skillful, and capable of drawing in your head because the pen is a tool for developing the imagination." |
|
|
Term
|
Definition
Centaurs are an emblem of imagination or fantasy.
The idea was carried from the Middle Ages that painters and poets would invent these. |
|
|
Term
|
Definition
A painter trained in Florence during the late 14th century under a pupil of a pupil of Giotto.
Talks a lot about skill of hand and imagination. |
|
|
Term
|
Definition
Domenico Ghirlandaio, Birth of the Baptists, Fresco, Florence, S. Maria Novella, Tornabouni Chapel, 1485-90
Fresco: Tornabuoni Chapel Frescoes, Florence S. Maria Novella (1485-90): |
|
|
Term
|
Definition
Domenico Ghirlandaio, Expulsion of Joachim, fresco, Florence,
S. Maria Novella, Tornabuoni Chapel, 1485-90
Fresco: Tornabuoni Chapel Frescoes, Florence S. Maria Novella (1485-90): |
|
|
Term
|
Definition
Michelangelo, Temptation of St. Anthony
(after Martin Schongauer's engraving), oil and tempera on panel, Fort Worth, Kimbell Museum, 18 1/2 x 13 1/4 in., 1480s |
|
|
Term
|
Definition
| Michelangelo, Study after Giotto, Ascension of S. John the Evangelist (Peruzzi Chapel fresco), pen & ink, ca. 1490 |
|
|
Term
|
Definition
Michelangelo, Madonna of the Stairs, ca. 1489-92
used Rilievo Schiacciato |
|
|
Term
|
Definition
| Michelangelo, Battle of the Lapiths and the Centaurs, ca. 1492 |
|
|
Term
|
Definition
Michelangelo, Crucifix,
Florence, S. Spirito, ca. 1492-3 |
|
|
Term
|
Definition
| (flattened relief; style of very low relief marble carving associated with Donatello) |
|
|
Term
|
Definition
| Michelangelo, St. Proclus, marble, Bologna, Arca di S. Domenico, 1494-95 |
|
|
Term
|
Definition
| Michelangelo, Bacchus, marble, 1496-97 |
|
|
Term
|
Definition
| Michelangelo, Pietà , marble, Rome, St. Peter's, 1498-99 |
|
|
Term
|
Definition
| Michelangelo, Entombment, oil on panel, ca. 1500-01 |
|
|
Term
|
Definition
| Leonardo da Vinci, Madonna, Child & Cat, pen & wash drawing, ca. 1478 |
|
|
Term
|
Definition
| Leonardo da Vinci, Virgin of the Rocks, oil on panel (transferred to canvas),1483-85 |
|
|
Term
|
Definition
| Leonardo da Vinci, Burlington House Cartoon (Virgin, Child, S. Anne and S. John the Baptist), ca. 1505 |
|
|
Term
|
Definition
| (in pictorial modeling, the very gradual transition from light to dark, so that the border between the two is almost imperceptable (so-named for the similarity in effect to the dissipation of smoke--fumo, in Italian--in the atmosphere) |
|
|
Term
|
Definition
| (a large drawing on heavy paper that is prepared for transfer to a surface that will be painted. The transfer is usually accomplished through pouncing: the artist creates holes along the principal lines of the drawing, then after attaching it to the panel or wall, rubs charcoal dust through those holes) |
|
|
Term
|
Definition
| (literally, light/dark; the juxtaposition of dark tones next to light tones to create the illusion of a third dimension on a two-dimensional surface) |
|
|
Term
|
Definition
| Michelangelo, Virgin, Child & St. Anne, pen & ink, ca. 1501 |
|
|
Term
|
Definition
| Michelangelo, David, marble, 1501-04 |
|
|
Term
|
Definition
| Michelangelo, Cartoon for Battle of Cascina, (1542 copy by Aristotele da Sangallo), original ca. 1504 |
|
|
Term
|
Definition
| Michelangelo, Figure Studies for Battle of Cascina, ca. 1504 |
|
|
Term
|
Definition
| Michelangelo, Doni Tondo, tempera & oil on panel, 1503-04 |
|
|
Term
|
Definition
| Michelangelo, Taddei Tondo, marble, ca. 1503-05 |
|
|
Term
|
Definition
| Michelangelo, Bruges Madonna, marble, 1503-06 |
|
|
Term
|
Definition
| Michelangelo, S. Matthew (unfinished), marble, ca. 1505-06 |
|
|
Term
|
Definition
| (statue or, more rarely, painting of a figure considerably over life-size [the standard criterion was three times life-size]) |
|
|
Term
|
Definition
| (an ancient "science" in which facial features or physical traits are taken to be indicative of character. Sometimes these features or traits are likened to those of animals, and the person who resembles an animal [e.g., a lion or a wolf] is taken to possess that animal's virtues or defects. A famous ancient text on the subject was believed to have been written by Aristotle.) |
|
|
Term
|
Definition
| (Latin word meaning audacity or daring; quality associated with warriors, and also applied by the ancient Roman writer Pliny the Elder to the making of colossi) |
|
|
Term
|
Definition
| (serpentine figure; a figure that twists on its central axis so that shoulders and hips define different vertical planes) |
|
|
Term
|
Definition
| (antithesis; the term is generally used to describe a figural pose in which weight is shifted onto one leg, but it more broadly defines the principle of opposition found in such a pose--e.g., one leg bearing weight vs. one leg at rest; the hip girdle lying on one horizontal axis vs. the shoulders defining an opposed horizontal axis. This compositional formula is widespread in Renaissance art, and can describe the relationships between individual objects [e.g., one goat facing forward next to one goat facing backwards; an old woman next to a young woman] or the arrangement of one particular object [e.g., part of the body in light, part in dark; the body in a "contrapposto" pose, or the body in a figura serpentinata) |
|
|
Term
|
Definition
| (work of painting or sculpture in a circular format) |
|
|
Term
|
Definition
| art critical term used to describe a difficult task such as depicting a body, body part or object in foreshortening, or showing a body in violent movement) |
|
|
Term
|
Definition
| (the quality of provoking awe; seen in a facial expression, or characterizing a work of art) |
|
|
Term
|
Definition
Michelangelo, Studies for Libyan Sibyl
(New York, Metropolitan Mus.), ca. 1511-12 |
|
|
Term
|
Definition
|
|
Term
|
Definition
Michelangelo, Modello for Tomb of Julius II
(Florence, Uffizi), ca. 1505(?) |
|
|
