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| A style based on natural appearances, but simplified. |
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| The process of identifying a work as having been produced by a particular artist |
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| The order or arrangement of formal elements in a work |
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| The evaluation of works of art. Good criticism will explain the criteria for evaluation and carefully describe the work in relation to those criteria. |
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| A style that evokes an emotional response or seems todisplay the artist's own emotions |
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| A style that evokes an emotional response or seems to display the artist's own emotions. |
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| Visual qualifiers such as line, color, composition |
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| Generally a type of painting or sculpture based on subject matter, specifically, genre painting is that depicts scenes of every day life |
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| The meaning of a work of art based on an understanding of symbols or stories illustrated in the work |
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| Generally the type of material a work is made from; specifically, the material in which pigment is suspended in painting(E.G oil, water, egg yolk) |
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| A style that shows objects as they appear in nature. |
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| A style that does not depict recognizable objects |
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| A person who commissions a work of art |
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| A style that shows objects as they appear in nature, sometimes used to suggest that image is not idealized |
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| The visual characteristics of a work or architecture of a particular person, place, or time period. |
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| Whats the Difference between oil paint and Tempera? |
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| Oil paint is pigment suspended in linseed oil, tempera is pigment suspended in egg yolk |
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| What Five basic questions should you ask about a work? |
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Who made the work?
When was it made
How was it made
What was its purpose
What did it mean |
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| A technique of vase painting in which a colored slip is applied to the body of a vase; details are scratched through the slip. When fired, the slip figures are black, and the body color of the vase is red |
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| A system of constructing the human body with perfect proportions based on mathematical unit, such as the height of the head. |
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| A statue representing a human that supports the roof of a building |
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| The interior room of a greek temple that houses the cult statue |
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| The vertical support of the temple, composted of a long shaft, a capital at the top, and sometimes base. |
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| A way of drawing the human figure so that all of parts are shown as clearly as possible. The head and feet are in profile, but the shoulders and eyes are down frontally |
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| A weight shift caused by having most of the body's weight on the straight back leg while the other leg is slightly bent |
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| The tallest and most graceful order, columns have capitals encircled with rows of ancanthus leaves. |
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| The simplest order, with heavy proportions and cushion like capitals. |
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| The horizontal beam atop a row of columns, it is divided into the frieze above and the arcitrave below. |
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| The manner in which a column swells in the middle and tappers upward. |
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| A way of drawing a form so that it appears to extend forward in space. For example, a painting that shows a person reaching towar the viewer. |
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| Generally a composition that takes the form of a flat band. |
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| A baseline upon which all figures stand |
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| Hippodamian town planning: |
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| Town planning that sets all streets at right angles. |
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| A greek order when columns that are taller and more legant in proportion than doric order, have scrolls. |
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| Clothed, often painted statute of a young women, usually representing an attendant to a god, she has stiff pose and an arachic smile. |
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| Nude Statute(Slightly larger than life sized) of a heroic young man with one foot fowrward, straight knees, and aracic |
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| Shading from light to dark to create an illusion of three dimensionality |
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| In Architecture, a system of proportion and ornamentation |
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| The triangular gable below the roof of a temple face |
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| An architectural system consisting of vertical posts supporting horizontal beams (lintels) |
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| The illusion that objects or figures are set back in space relative to the surface. |
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| A technique of vase painting in which a colored slip is used for the background, leaving figures as silhouettes of unglazed glay. Details within are brushed and fired. Figures are red and background is black |
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| The typical divisions of doric frieze; the triglyphs look like three vertical bars, and the metropes are square fields where sculpture can be placed. |
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| Describe Archaic Greek Art |
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| Sixth Century, normally a monument marking the grave of an athlete or warrior. Kourous, always nude standing in a tense position with fists clenched left foot forward. similar to ancient egypt. |
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| Describe Early Classic Greek Art |
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| 480 B.C.E. Constrapposto. With the weight of the body on one legg while the other leg is bent and at rest. Lack smile and emotion |
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| Describe High Classical Period |
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| Dorphoros by polykleitos. Which shows constrapposto and idealization of male body. |
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| Describe the Helenistic period |
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| 323 B.C to the conquest of egypt by the romans in 31 BC. competing artists, people in extreme emotional states. |
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| Why was Vase painting important |
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| Most vases were from 6th century BC and are black figure technique. Red figure technique allowed much greater detail. Showed illusionism |
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| Describe the cannon of proportion |
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| A system of constructing the human body with perfect proportions based on a mathmatical unit such as the height of the head. |
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| Explain importance of Greek Temples |
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| Outside is where the offering to the gods was made, inside was reserved for priests and such. |
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| Doryphorus has perfect proportions, but unrealistic |
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| Halls on either side of the nave, usually narrower and always shorter than the nave. |
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| A semicircular extension from the end of a building |
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| A curved structural form that is constructed from wedge shaped blocks with a keystone on top |
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| An interior rom in a roman house that is open to the sky, allowing rain to collect in a shallow pool below |
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| An Arch extended in space to create a rounded roof or ceiling. |
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| In Roman archtecture a multipurpose municipal building it is rectangluar usually with the entrance on the long side, and sometimes with apses at at either end |
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| Halls on either side of the nave, usually narrower and always short than the nave |
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| A square or rectangular interior space defined by colums or piers; a series of bays could replace the aisles in a basilica |
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| A row of windows below the roof of a basilica that provides light to the nave |
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| A building material that is made from mortar, sand, small stones and water |
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| A roof or ceiling formed by the intersection at right angles of two barrel vaults |
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| A hemispherical structure serving as roof or ceiling |
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| A column that appears to be cut in half vertically and attached to the wall |
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| A sculpture of an emperor or other leader mounted triumphantly on a horse. |
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| An open area in the center of a roman town used for speeches and other public gathers. |
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| Painting done with water based pigment on a plaster wall. |
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| The tall central hall like section running the length of a basilica |
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| An interior courtyard surrounded by columns it was first found in greek houses |
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| A relief that looks like a column with a rectangular edged flattened against a wall. |
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| Raised platform, specifically one that serves as a base for a temple. |
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| A large portal structure commemorating events like military conquests for the empire. Its composted of a shallow barrel vault with shorter vaults on either side of the main opening. |
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| Very Precise realism, usually applied to portrait sculpture shows subject with no form of idealization. |
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