Giotto, Lamentation, c.1305

Ghiberti, The Sacrifice of Isaac, 1401-1403

Donatello, David, c. 1420-1460

Brunelleschi, Pazzi Chapel, Florence, c. 1433-1460s (exterior and interior views)

Masaccio, Holy Trinity, c.1428

Botticelli, Birth of Venus, c. 1484-86

Raphael, The School of Athens, 1510

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Bernini, David, 1623

Titian, Pesaro Madonna, 1519-26

Bernini, Colonnade, St. Peter’s, 1656-67

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Bernini, Baldacchino, 1624-33

Bernini, The Ecstasy of St. Teresa, 1645-52

Pietro da Cortona, The Triumph of the Barberini, 1633-39

Pozzo, Glorification of Saint Ignatius, 1691-94

Caravaggio, The Calling of Saint Matthew, c. 1597-1601

Caravaggio, The Entombment of Christ, c. 1603

Caravaggio, Death of the Virgin, 1606

Gentileschi, Self-Portrait as the Allegory of Painting, 1630s

Caracci, Flight into Egypt, 1603-04

Zurbarán, Still Life with Lemons, Oranges and a Rose, 1633

Ribera, Martyrdom of St. Philip, c. 1639

Velázquez, Equestrian Portrait of Philip IV, 1623-26

Velázquez, Las Meninas, 1656

van Dyck, Charles I Dismounted, c. 1635

Rubens, The Elevation of the Cross, 1610

Rubens, Arrival of Marie de’ Medici at Marseilles, 1622–1625

Rigaud, Louis XIV, 1701

Le Brun, Palace of Versailles, 1669-c. 1680 (Le Brun was the main overseer of the project)

Le Notre, Gardens of Versailles (Versailles Park), late 17^th century

Poussin, Burial of Phocion, 1648

fresco secco

Painting on lime plaster, either dry (dry fresco, or fresco secco)

Giotto, Lamentation c.1305

or wet (true, or buon, fresco)In the latter method, the pigments are mixed with water and become chemically bound to the freshly laid lime plaster. Also, a painting executed in either method. 

 Michelangelo, Sistine Chapel ceiling frescoes 1508-1512

otherwise known as one point perspective

A method of presenting an illusion of the three-dimensional world on a two- dimensional surface. In linear perspective, the most common type, all parallel lines or surface edges converge on one, two, or three vanishing points located with reference to the eye level of the viewer (the horizon line of the picture), and associated objects are rendered smaller the far- ther from the viewer they are intended to seem. 

Masaccio, Holy Trinity, c.1428

The imposition of a strict grid plan on a site, regardless of the terrain, so that all streets meet at right angles. 

Masaccio, Holy Trinity, c.1428

is a point in the picture plane π that is the intersection of the projections (or drawings) of a set of parallel lines in space on to the picture plane. 

Masaccio, Holy Trinity, c.1428

Atmospheric, or aerial, perspective creates the illusion of distance by the greater diminution of color intensity, the shift in color toward an almost neutral blue, and the blurring of con- tours as the intended distance between eye and object increases

Claude Lorrain, Embarkation of the Queen  of Sheba, 1648

relief sculpture

 The subjects project from the background but remain part of it.

  Gislebertus, Last Judgment  ca. 1120–1135. 

the use of strong contrasts between light and dark, usually bold contrasts affecting a whole composition.

Caravaggio, The Calling of Saint Matthew, c. 1597-1601

Caravaggio, The Entombment of Christ, c. 1603

Caravaggio, Death of the Virgin, 1606

Gentileschi, Self-Portrait as the Allegory of Painting, 1630s

“to tone down” or “to evaporate like smoke”

Mona Lisa, Leonardo Da Vinci

meaning "naked.

Michelangelo, David, 1501-04

Michelangelo, Sistine Chapel ceiling frescoes, 1508-1512

an art style in late 16th century Europe characterized by spatial incongruity and excessive elongation of the human figures

PARMIGIANINO, Madonna with the Long Neck,

 method of rendering a specific object or figure in a picture in depth

Caravaggio, The Conversion of Saint Paul

Gentileschi, Judith and Holofernes, c. 1611-12 

art technique that uses realistic imagery to create the optical illusion that depicted objects exist in three dimensions

Michelangelo, Sistine Chapel ceiling frescoes, 1508-1512

 is the tradition in Rwhichperspective tools such as foreshortening, and other spatial effects are used to create the illusion of three-dimensional space on an otherwise two-dimensional or mostly flat ceiling surface above the viewer.

Michelangelo, Sistine Chapel ceiling frescoes, 1508-1512

tenebrism

lso called dramatic illumination, is a style of painting using very pronounced chiaroscuro, where there are violent contrasts of light and dark and where darkness becomes a dominating feature of the image.

Caravaggio, The Calling of Saint Matthew, c. 1597-1601

Caravaggio, The Entombment of Christ, c. 1603

Caravaggio, Death of the Virgin, 1606

depicts the atmospheric perspective and naturalistic style 

Claude (Claude Lorrain), Landscape with Cattle and Peasants, 1629

A still life is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural or man-made.

Sánchez Cotán, Quince, Cabbage, Melon and Cucumber, 1602

Zurbarán, Still Life with Lemons, Oranges and a Rose, 1633

a still life painting depicting pantry items, such as victuals, game, and drink, often arranged on a simple stone slab, and also a painting with one or more figures, but significant still life elements, typically set in a kitchen or tavern.

Sánchez Cotán, Quince, Cabbage, Melon and Cucumber, 1602

Zurbarán, Still Life with Lemons, Oranges and a Rose, 1633

genre scene

the pictorial representation in any of various media of scenes or events from everyday life, such as markets, domestic settings, interiors, parties, inn scenes, and street scenes.

Vermeer, Woman Holding a Balance, c. 1664

Vermeer, The Kitchen Maid, c.1658

Picture of a man on a horse

Velázquez, Equestrian Portrait of Philip IV, 1623-26

 a work of art that is divided into three sections

Rubens, The Elevation of the Cross, 1610

 formal garden constructed on a level surface, consisting of planting beds, typically in symmetrical patterns, separated and connected by gravel pathways

Le Brun, Palace of Versailles, 1669-c. 1680 (Le Brun was the main overseer of the project)

Le Notre, Gardens of Versailles (Versailles Park), late 17th century

the horticultural practice of training live perennial plants by clipping the foliage and twigs of trees, shrubs

Le Brun, Palace of Versailles, 1669-c. 1680 (Le Brun was the main overseer of the project)

Le Notre, Gardens of Versailles (Versailles Park), late 17th century

a method of making prints from a metal plate, usually copper, into which the design has been incised by acid.

Rembrandt, Christ with the Sick around Him, Receiving the Children (Hundred 

Guilder Print), c. 1649.

an optical device that projects an image of its surroundings on a screen

Allegory if Painting, Vermeer

vanitas

a type of symbolic work of art especially associated with still life painting in Flanders and the Netherlands 

Zurbarán, Still Life with Lemons, Oranges and a Rose, 1633

'remember that you will die' is an artistic or symbolic reminder of the inevitability of death

Kalf, Still Life with Nautilus Cup, 1660

Ruysch, Flower Still Life, c. 1700

Vermeer, Woman Holding a Balance, c. 1664

Vermeer, The Kitchen Maid, c.1658

Ruysch, Flower Still Life, c. 1700

put upside down or in the opposite position, order, or arrangement  elements to form a whole

Christ in the House of Martha and Mary, Diego Velázquez

Ingres, Grande Odalisque, 1814

Gros, Napoleon at the Plague House at Jaffa, 1804

Fuseli, The Nightmare, 1781

Friedrich, Wanderer above a Sea of Mist, 1818

Goya, The Sleep of Reason Produces Monsters, c. 1798

Delacroix, Death of Sardanapalus, 1827

Boffrand, Salon de la Princesse, Paris, 1737-1740

Neumann, Vierzehnheilgen, Germany 1743-72

Gainsborough, Mrs. Richard Brinsley Sheridan, 1785-86

Wright of Derby, Sir Brooke Boothby, 1781

Brown, Stowe Gardens, England (know country), 18^th c.

Wright of Derby, A Philosopher Giving a Lecture at the Orrery, c. 1763-65

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Gainsborough, The Honourable Mrs. Graham, 1777

Vigée- Lebrun, Marie Antoinette, 1787

Kauffmann, Cornelia Presenting Her Children as Her Treasures , c. 1785

Boyle and Kent, Chiswick House, England (know country), c. 1725

Jefferson, Monticello, Charlottesville, VA, 1770–1806

Houdon, George Washington, 1788-92

Canova, Pauline Borghese as Venus, 1808

David, Coronation of Napoleon, 1805–08

Géricault, Raft of the Medusa, 1818–19

Delacroix,Women of Algiers, 1834

Turner, The Slave Ship, 1840

Constable, The Haywain, 1821

Cole, The Oxbow, 1836

Bierstadt, Rocky Mountains, Lander’s Peak, 1863

Courbet, The Stone Breakers, 1849.

Millet, The Gleaners, 1857

Daumier, Rue Transnonain, 1834

Bonheur, The Horse Fair, 1853–1855

Eakins, The Gross Clinic, 1875

Tanner, The Banjo Lesson, 1893

Lewis, Forever Free, 1867

boiserie

Fête Galante

show groups of elegantly attired men and women, most often placed in a parkland setting and engaged in decorously amorous play.

Popularized by Wateau

Watteau, Pilgrimage to Cythera, 1717

chinoiserie

 style in art (as in decoration) reflecting Chinese qualities or motifs; also :  an object or decoration in this style

Boucher, The Chinese Fair

an idealized view of nature in a controlled garden form

Brown, Stowe Gardens, England 

Paintings with moralistic warnings

Hogarth, Shortly After the Marriage (or The Breakfast Scene) from Marriage à la Mode

Grand Manner portraiture

Large scale portraits that that incorporated visual metaphors in order to suggest noble qualities.

Gainsborough, The Honourable Mrs. Graham

arts that draw inspiration from the "classical" art and culture of Ancient Greece or Ancient Rome. The main Neoclassical movement coincided with the 18th century Age of Enlightenment, and continued into the early 19th century, latterly competing with Romanticism.

Fuseli, The Nightmare

Return to classics

Sharp Outline

Reserved Emotion

Lack of excess

Deliberate composition

Cool colors

Palladian

 Work was strongly based on the symmetry, perspective and values of the formal classical temple architecture of the Ancient Greeks and Romans.

Jefferson,Monticello

Hudson River School

 a mid-19th century American art movement embodied by a group of landscape painters whose aesthetic vision was influenced by romanticism. 

Cole, The Oxbow, 

impasto

is a technique used in painting, where paint is laid on an area of the surface (or the entire canvas) very thickly, usually thickly enough that the brush orpainting-knife strokes are visible.

GUSTAVE COURBET, The Stone Breakers,

lithography

Printing using graphite and a stone.

Goya, The Sleep of Reason Produces Monsters