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| pigments mixed with egg yolk |
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| multiple paneled painting |
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| without a priliminary drawing |
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| change in belief in religion |
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| debates based on Aristotle's teachings |
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| systematic destruction of religious icons because of their religious connotations |
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| cutting design into wood, inking, putting on paper and applying pressure |
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| cutting image into metal and inking recesses |
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| depicting daily life of ordinary people |
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| an unusually long room to take exercise during bad weather |
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| music not associated with religious means or ceremonies |
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| vocal composition for a small group of singers usually without accompaniment |
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| single melody employed with harmonic support |
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| meditative reflections spoken out loud, Shakespeare (Hamlet) |
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| verse in unrhymed iambic pentameter |
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| each line has 10 syllables with alternating stresses |
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| descention from above by a crane for theater purposed (god lowered on stage by crane to resolve plot, Greek and Roman theater) |
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| 17th century artistic period characterized by opulence, emotionalism, theatricality and large scale |
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| 16th century Roman Catholic response of reform to the Protestant Reformation by using paints, stories and other representations to constantly remind people of mystery of faith. Religious art needs to have clarity, realism and emotion |
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| prayer hall for oratorers. |
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| port or walkway covered by a roof supported by columns often an entrance to main building |
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| 4 sided shaft topped by a pyramid |
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| painting technique ramatically contrasts light and dark and makes little use of middle tones |
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| italian for "a work", first introduced in Baroque, combines drama, text, music, and orchestral accompaniment |
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| in opera a form of musically hightened speech halfway between spoken and sung |
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| instrumental music form consisting of 3 movements for solo and orchestra pitter against each other for dramatic contrast |
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| musical passage that will occur several times throughout a concerto |
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| print made by incising an image on a waxed metal plate corroding the exposed metal in an acid and inking recessed design |
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| crude camera-like device used for verifying prospective, 1st used in the Renaissance |
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| 2 opposing styles from Academy. Poussin favored line because it appealed to the mind and Ruben favored color because it appealed to the senses |
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| sacred opera performed without costume or acting featuring solo singers, a chorus and an orchestra |
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| section of opera, oratorio or contrata for solo singer usually with orchestral accompaniment |
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| musical composition of 3 highly independent parts in which one voice states a theme that is then imitated in succession by each of the other voices in counterpoint |
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| weaving 2 or more independent melodies into one harmonic texture |
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| "to sing" in italian, small scale musical work for a solo singer or small group and accompanying instruments |
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| people choose to give up sovereignty over themselves and bestow it on a ruler |
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| an arch that stands in front of the scene and divides the stage from the auditorium |
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| unity of time (24 hour period), unity of place (single setting) and unity of action (single plot) Plays that didn't follow these were thought crude by cortieres |
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| spanish narrative form that portrays a picaro (rogue or knave)who wanders from adventure to adventure and marks novel as a literary art form |
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