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| is an approach in study, philosophy, world view or practice that focuses on human values and concerns. In philosophy and social science, humanism is a perspective which affirms some notion of human nature, and is contrasted with anti-humanism.[citation needed] Secular Humanism is a secular ideology which espouses reason, ethics, and justice, whilst specifically rejecting supernatural and religious dogma as a basis of morality and decision-making. Secular Humanism contrasts with Religious Humanism, which is an integration of humanist ethical philosophy with religious rituals and beliefs that center on human needs, interests, and abilities.[1] Renaissance humanism is a cultural movement of the Italian Renaissance based on the study of classical works |
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| is an art technique involving extremely realistic imagery in order to create the optical illusion that the depicted objects appear in three dimensions. |
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| is a demonstrative form of representation explaining meaning other than the words that are spoken. Allegory communicates its message by means of symbolic figures, actions or symbolic representation. Allegory is generally treated as a figure of rhetoric, but an allegory does not have to be expressed in language: briefly, an allegory is a device used to present an idea, principle or meaning, which can be presented in literary form, such as a poem or novel, or in visual form, such as in painting or drawing |
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| which means "seen from below" or "from below, upward" in Italian, developed in late Quattrocento Italian Renaissance painting, notably in Andrea Mantegna's Camera degli Sposi in Mantua and in frescoes by Melozzo da Forlì. |
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| was the first of the Medici political dynasty, de facto rulers of Florence during much of the Italian Renaissance; also known as "Cosimo 'the Elder'" ("il Vecchio") and "Cosimo Pater Patriae" (Latin: 'father of the nation'). |
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| is one of the three principal classical orders of ancient Greek and Roman architecture. The other two are the Doric and Ionic. When classical architecture was revived during the Renaissance, two more orders were added to the canon, the Tuscan order and the Composite order. The Corinthian, with its offshoot the Composite, is stated to be the most ornate of the orders, characterized by slender fluted columns and elaborate capitals decorated with acanthus leaves and scrolls. |
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from the contraction in Tuscan dialect of the Italian word orto) is a church in the Italian city of Florence. The building was constructed on the site of the kitchen garden of the monastery of San Michele, which is now gone.
Located on the Via Calzaiuoli in Florence, the church was originally built as a grain market[1] in 1337 by Francesco Talenti, Neri di Fioravante, and Benci di Cione. Between 1380 and 1404 it was converted into a church used as the chapel of Florence's powerful craft and trade guilds. |
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| occurs when two things can vary independently, they are uncorrelated, or they are perpendicular. |
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| one-point (linear perspective) |
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| is a depth cue that is related to both relative size and the next depth cue, texture gradient. In linear perspective parallel lines that recede into the distance appear to get closer together or converge. Take the animation below. Initially, the scene appears flat. |
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| is an art term, originating from an Italian word which means "a day's work." The term is used in Buon fresco mural painting and describes how much painting can be done in a single day of painting. Knowing how much can be painted in a day is crucial in the Buon fresco technique, because in this technique a watercolor paint, without binder, is applied to wet lime plaster which binds the paint into the surface of the plaster when it dries, making for an extremely durable painting. |
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| ) is a small shrine. The word aedicula is the diminutive of the Latin aedes, a temple building or house. |
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| is an Italian term that means counterpose. It is used in the visual arts to describe a human figure standing with most of its weight on one foot so that its shoulders and arms twist off-axis from the hips and legs. This gives the figure a more dynamic, or alternatively relaxed appearance. It can also be used to refer to multiple figures which are in counter-pose (or opposite pose) to one another. It can further encompass the tension as a figure changes from resting on a given leg to walking or running upon it (so-called ponderation). Contrapposto is less emphasized than the more sinuous S Curve. |
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| was one of the foremost architects and engineers of the Italian Renaissance. He is perhaps most famous for inventing linear perspective and designing the dome of the Florence Cathedral, but his accomplishments also included bronze artwork, architecture (churches and chapels, fortifications, a hospital, etc), mathematics, engineering (hydraulic machinery, clockwork mechanisms, theatrical machinery, etc) and even ship design. His principal surviving works are to be found in Florence, Italy. |
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| is a mixed order, combining the volutes of the Ionic order capital with the acanthus leaves of the Corinthian order. The composite order volutes are larger, however, and the composite order also has echinus molding with egg-and-dart ornamentation between the volutes. The column of the composite order is ten diameters high. |
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| is a line that passes through two or more other lines in the same plane at different points. When the lines are parallel, as is often the case, a transversal produces several congruent and several supplementary angles. When three lines in general position that form a triangle are cut by a transversal, the lengths of the six resulting segments satisfy Menelaus' theorem |
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| in architecture, is a sunken panel in the shape of a square, rectangle, or octagon in a ceiling, soffit or vault.[1] A series of these sunken panels were used as decoration for a ceiling or a vault, also called caissons ('boxes"), or lacunaria ("spaces, openings"),[2] so that a coffered ceiling can be called a lacunar ceiling: the strength of the structure is in the framework of the coffers. The stone coffers of the ancient Greeks[3] and Romans[4] are the earliest surviving examples, but a seventh-century BC Etruscan chamber tomb in the necropolis of San Giuliano, which is cut in soft tufa-like stone reproduces a ceiling with beams and cross-beams lying on them, with flat panels fillings the lacunae. |
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| is a fresco painting technique in which pigments ground in water are tempered using egg yolk or whole egg mixed with water which are applied to plaster that has been moistened (using this temper) to simulate fresh plaster. No white is used (as in watercolour painting). In true fresco (buon fresco), the plaster is still fresh and has not dried when the watercolors are introduced. It is also common to use white to lighten colours in fresco. |
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| is the modern term for a school of religious and mystical philosophy that took shape in the 3rd century AD, based on the teachings of Plato and earlier Platonists, with its earliest contributor believed to be Plotinus, and his teacher Ammonius Saccas. Neoplatonists would have considered themselves simply Platonists, and the modern distinction is due to the perception that their philosophy contained sufficiently unique interpretations of Plato to make it substantially different from what Plato wrote and believed.[1] |
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| born Guido di Pietro, was an Early Italian Renaissance painter described by Vasari in his Lives of the Artists as having "a rare and perfect talent".[2] He was known to his contemporaries as Fra Giovanni da Fiesole (Brother John from Fiesole) and by Vasari as Fra Giovanni Angelico (Brother John the Angelic One) |
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| forms one of the three orders or organizational systems of classical architecture, the other two canonic orders being the Doric and the Corinthian. (There are two lesser orders, the stocky Tuscan order and the rich variant of Corinthian, the Composite order, added by 16th century Italian architectural theory and practice. |
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| also referred to as the Annunciation to the Blessed Virgin Mary or Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to Virgin Mary, that she would conceive and become the mother of Jesus the Son of God. Gabriel told Mary to name her son Jesus, meaning "Saviour". Many Christians observe this event with the Feast of the Annunciation on 25 March |
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| is a fresco painting technique in which alkaline resistant pigments, ground in water, are applied to plaster when it is still wet, as opposed to fresco-secco (or a secco). The buon fresco technique consists of painting with pigment ground in water on a thin layer of wet, fresh, lime mortar or plaster, for which the Italian word for plaster, intonaco, is used. |
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| were the mercenary soldier leaders (or warlords) of the professional, military free companies contracted by the Italian city-states and the Papacy,[1] from the late Middle Ages and throughout the Renaissance. In Renaissance Italian, condottiero meant "contractor", and was synonymous with the modern English title Mercenary Captain, which, historiographically, does not connote the hired soldier’s nationality |
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| giovanni di bicci de medici |
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| was an Italian banker, the first historically relevant member of Medici family of Florence, and the founder of the Medici bank. He was the father of Cosimo de' Medici (Pater Patriae), and great-grandfather of Lorenzo de Medici |
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| was one of the three orders or organizational systems of ancient Greek or classical architecture; the other two canonical orders were the Ionic and the Corinthian |
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| is a feature of Classical architecture since the 16th century. They are often denoted by their French name, oeil de boeuf, or "bull's-eye". Such circular or oval windows express the presence of a mezzanine on a building's façade without competing for attention with the major fenestration |
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| is an architectural element formed by the extrusion of a single curve (or pair of curves, in the case of a pointed barrel vault) along a given distance. The curves are typically circular in shape, lending a semi-cylindrical appearance to the total design. The barrel vault is the simplest form of a vault: effectively a series of arches placed side by side, i.e., one after another. It is a form of barrel roof. |
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| in art, the perception of depth in nature as enhanced by haze in the atmosphere; how the appearance of objects is altered over distance by the effects of the air between the viewer and the object; also, the portrayal of this; also called aerial perspective |
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| International Gothic Style |
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| where the style was long-lasting, local varieties of it are often known as Perpendicular architecture in England |
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| is any object with two flat plates attached at a hinge. Devices of this form were quite popular in the ancient world, wax tablets being coated with wax on inner faces, for recording notes and for measuring time and direction. |
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| is a manuscript in which the text is supplemented by the addition of decoration, such as decorated initials, borders (marginalia) and miniature illustrations. In the most strict definition of the term, an illuminated manuscript only refers to manuscripts decorated with gold or silver, but in both common usage and modern scholarship, the term is now used to refer to any decorated or illustrated manuscript from the Western traditions. |
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| is a work of art (usually a panel painting) which is divided into three sections, or three carved panels which are hinged together and can be folded shut or displayed open. It is therefore a type of polyptych, the term for all multi-panel works. The middle panel is typically the largest and it is flanked by two smaller related works, although there are triptychs of equal-sized panels. |
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| in art history, is a periodizing convention used to denote the apogee of the visual arts in the Italian Renaissance. The High Renaissance period is traditionally taken to begin in the 1490s, with Leonardo's fresco of the Last Supper in Milan and the death of Lorenzo de' Medici in Florence, and to have ended in 1527 with the sacking of Rome by the troops of Charles V. This term was first used in German (Hochrenaissance) in the early nineteenth century, and has its origins in the "High Style" of painting and sculpture described by Johann Joachim Winckelmann.[1] Over the last twenty years, use of the term has been frequently criticized by academic art historians for over-simplifying artistic developments, ignoring historical context, and focusing only on a few iconic works. [2] |
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| is a period of European art that emerged from the later years of the Italian High Renaissance around 1520. It lasted until about 1580 in Italy, when a more Baroque style began to replace it, but Northern Mannerism continued into the early 17th century throughout much of Europe.[1] Stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals and restrained naturalism associated with artists such as Leonardo da Vinci, Raphael, and early Michelangelo. Mannerism is notable for its intellectual sophistication as well as its artificial (as opposed to naturalistic) qualities. |
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| was a 16th-century split within Western Christianity initiated by Martin Luther, John Calvin and other early Protestants. The efforts of the self-described "reformers", who objected to ("protested") the doctrines, rituals and ecclesiastical structure of the Roman Catholic Church, led to the creation of new national Protestant churches. The Reformation was precipitated by earlier events within Europe, such as the Black Death and the Western Schism, which eroded people's faith in the Roman Catholic Church. This, as well as many other factors, contributed to the growth of lay criticism in the church and the creation of Protestantism.[1] |
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| was an Italian Dominican friar, Scholastic, and an influential contributor to the politics of Florence from 1494 until his execution in 1498. He was known for his book burning, destruction of what he considered immoral art, and what he thought the Renaissance—which began in his Florence—ought to become. He preached vehemently against the moral corruption of much of the clergy at the time. His main opponent was Rodrigo Borgia, who was Pope Alexander VI from 1492, through Savonarola's death in 1498. |
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is one of the four canonical painting modes of the Renaissance (the other three being Cangiante, Chiaroscuro, and Unione).[1]
The most prominent practitioner of sfumato was Leonardo da Vinci, and his famous painting of the Mona Lisa exhibits the technique. Leonardo da Vinci described sfumato as "without lines or borders, in the manner of smoke or beyond the focus plane."[2] |
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| is an Italian term for the final, very thin layer of plaster on which a fresco is painted. The plaster is painted while still wet, in order to allow the pigment to penetrate into the intonaco itself. An earlier layer, called arriccio, is laid slightly coarsely to provide a key for the intonaco, and must be allowed to dry, usually for some days, before the final very thin layer is applied and painted on.[1] In Italian the term intonaco is also used much more generally for normal plaster or mortar wall-coatings in buildings. |
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| is the phrase coined by Michelangelo to describe the twenty seated male nudes he incorporated into the Sistine Chapel ceiling frescoes. Each represents the male human figure at its most idealized, in a sort of blending of ancient Classicism and modern naked super heroes (a topic about which Michelangelo could not have known), and none had anything at all to do with Bible stories. |
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denotes the period of Catholic revival beginning with the Council of Trent (1545–1563) and ending at the close of the Thirty Years' War, 1648 as a response to the Protestant Reformation. The Counter-Reformation was a comprehensive effort, composed of four major elements:
Ecclesiastical or structural reconfiguration
Religious orders
Spiritual movements
Political dimensions |
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| is the goddess of wisdom, courage, inspiration, civilization, warfare, strength, strategy, the arts, crafts, justice, and skill. Minerva, Athena's Roman incarnation, embodies similar attributes. |
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| comes (via Latin) from the Greek word σίβυλλα sibylla, meaning prophetess. The earliest oracular seeresses known as the sibyls of antiquity, "who admittedly are known only through legend"[1] prophesied at certain holy sites, under the divine influence of a deity, originally— at Delphi and Pessinos— one of the chthonic deities. Later in antiquity, sibyls wandered from place to place. |
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| in art is "an Italian term which literally means 'light-dark'. In paintings the description refers to clear tonal contrasts which are often used to suggest the volume and modelling of the subjects depicted" |
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| was a military event carried out by the mutinous troops of Charles V, Holy Roman Emperor in Rome, then part of the Papal States. It marked a crucial imperial victory in the conflict between Charles and the League of Cognac (1526–1529) — the alliance of France, Milan, Venice, Florence and the Papacy. |
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| was the 16th-century Ecumenical Council of the Roman Catholic Church. It is considered to be one of the Church's most important[1] councils. It convened in Trent (then capital of the Prince-Bishopric of Trent of the Holy Roman Empire, now in modern Italy) between December 13, 1545, and December 4, 1563 in twenty-five sessions for three periods. |
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| is a 1514 engraving by the German Renaissance master Albrecht Dürer. It is an allegorical composition which has been the subject of many interpretations. One of the most famous old master prints, it has sometimes been regarded as forming one of a conscious group of Meisterstiche with his Knight, Death and the Devil (1513) and Saint Jerome in his Study (1514). |
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was ruler of the Holy Roman Empire from 1519 and, as Charles I, of the Spanish Empire from 1516 until his voluntary retirement and abdication in favor of his younger brother Ferdinand I and his son Philip II in 1556.
As the heir of three of Europe's leading dynasties—the House of Habsburg of the Habsburg Monarchy; the House of Valois-Burgundy of the Burgundian Netherlands; and the House of Trastámara of Crown of Castile-León & Aragon—he ruled over extensive domains in Central, Western, and Southern Europe; and the Spanish colonies in North, Central, and South America, the Caribbean, and Asia. |
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| was a German priest, professor of theology and iconic figure of the Protestant Reformation.[1] He strongly disputed the claim that freedom from God's punishment for sin could be purchased with money. He confronted indulgence salesman Johann Tetzel with his Ninety-Five Theses in 1517. His refusal to retract all of his writings at the demand of Pope Leo X in 1520 and the Holy Roman Emperor Charles V at the Diet of Worms in 1521 resulted in his excommunication by the pope and condemnation as an outlaw by the Emperor. |
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| Mary of the Gael (Irish: Naomh Bríd) (c. 451–525) is one of Ireland's patron saints along with Saints Patrick and Columba. Irish hagiography makes her an early Irish Christian nun, abbess, and founder of several monasteries. Her feast day is 1 February, celebrated as St Brigid’s Day or Imbolc in Gaelic Ireland. |
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| is a period of European art that emerged from the later years of the Italian High Renaissance around 1520. It lasted until about 1580 in Italy, when a more Baroque style began to replace it, but Northern Mannerism continued into the early 17th century throughout much of Europe.[1] Stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals and restrained naturalism associated with artists such as Leonardo da Vinci, Raphael, and early Michelangelo. Mannerism is notable for its intellectual sophistication as well as its artificial (as opposed to naturalistic) qualities. |
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| , is a canopy of state over an altar or throne. It had its beginnings as a cloth canopy,[1] but in other cases it is a sturdy, permanent architectural feature, particularly over high altars in cathedrals, where such a structure is more correctly called a ciborium when it is sufficiently architectural in form. A cloth of honour is a simpler cloth hanging vertically behind the throne, which may be combined with a canopy. |
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| Italian phrase that refers to the idea of looking up from below. A type of illusionism in painting, achieved by means of sharp foreshortening, in which the figures and architecture seem to be high above and receding from the spectator. |
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| in art is "an Italian term which literally means 'light-dark'. In paintings the description refers to clear tonal contrasts which are often used to suggest the volume and modelling of the subjects depicted" |
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It is a time period in art history when Baroque artists looked to the classics for inspiration. That is why Baroque art contains religious subject matter.
Baroque was more Italian. Classical was French during same time. Baroque Clasiscism describes French Baroque movement. |
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Caravaggesque is a word which comes from the surname of the Italian painter Michelangelo Merisi da Caravaggio, so I suppose Caravaggesque would sort of be 'In the style of Caravaggio' or something like that.
If this is the case, something which is Caravaggesque in style would perhaps be Baroque style paintings, and painting in Caravaggesque is Caravaggism.
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| Baroque Naturalism/ Realism |
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| are terms that describe any manifestation of philosophical realism, the belief that reality exists independently of observers, whether in philosophy itself or in the applied arts and sciences. In this broad sense it is frequently contrasted with Idealism. |
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| is a biblical event described in the Gospel of Matthew (Matthew 2:13-23), in which Joseph fled to Egypt with his wife Mary and infant son Jesus after a visit by Magi because they learn that King Herod intends to kill the infants of that area. The episode is frequently shown in art, as the final episode of the Nativity of Jesus in art, and was a common component in cycles of the Life of the Virgin as well as the Life of Christ. |
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| is a period and the style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, literature, dance, and music. The style started around 1600 in Rome, Italy and spread to most of Europe |
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| from the Italian tenebroso (murky), (also called dramatic illumination) is a style of painting using very pronounced chiaroscuro, where there are violent contrasts of light and dark, and darkness becomes a dominating feature of the image. Da Vinci is generally credited with the invention of the style, but the term "Tenebrist" is more likely to be applied to later painters under his influence. |
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| also called Saint Teresa of Jesus, baptized as Teresa Sánchez de Cepeda y Ahumada, (March 28, 1515 – October 4, 1582) was a prominent Spanish mystic, Roman Catholic saint, Carmelite nun, and writer of the Counter Reformation, and theologian of contemplative life through mental prayer. She was a reformer of the Carmelite Order and is considered to be, along with John of the Cross, a founder of the Discalced Carmelites. |
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| is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural (food, flowers, plants, rocks, or shells) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, and so on). With origins in the Middle Ages and Ancient Greek/Roman art, still life paintings give the artist more leeway in the arrangement of design elements within a composition than do paintings of other types of subjects such as landscape or portraiture. Still life paintings, particularly before 1700, often contained religious and allegorical symbolism relating to the objects depicted. Some modern still life breaks the two-dimensional barrier and employs three-dimensional mixed media, and uses found objects, photography, computer graphics, as well as video and sound. |
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| is a type of symbolic work of art especially associated with Northern European still life painting in Flanders and the Netherlands in the 16th and 17th centuries, though also common in other places and periods. The word is Latin, meaning "emptiness" and loosely translated corresponds to the meaninglessness of earthly life and the transient nature of vanity. Ecclesiastes 1:2 from the Bible is often quoted in conjunction with this term. The Vulgate (Latin translation of the Bible) renders the verse as Vanitas vanitatum omnia vanitas. The verse is translated as Vanity of vanities; all is vanity by the King James Version of the Bible, and Utterly meaningless! Everything is meaningless by the New International Version of the Bible. |
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| is an optical device that projects an image of its surroundings on a screen. It is used in drawing and for entertainment, and was one of the inventions that led to photography. The device consists of a box or room with a hole in one side. Light from an external scene passes through the hole and strikes a surface inside where it is reproduced, upside-down, but with color and perspective preserved. The image can be projected onto paper, and can then be traced to produce a highly accurate representation. |
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| is a shallow saucer-like dish either mounted on a stem and foot or on a foot alone. The word has been generally adopted by archaeologists and connoisseurs for this type of vessel, used either for drinking, serving small items of food, or just for display. |
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| also referred to as "Late Baroque", is an 18th-century style which developed as Baroque artists gave up their symmetry and became increasingly ornate, florid, and playful. Rococo rooms were designed as total works of art with elegant and ornate furniture, small sculptures, ornamental mirrors, and tapestry complementing architecture, reliefs, and wall paintings. It was largely supplanted by the Neoclassic style |
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| a final blessed state free from ignorance, desire and suffering |
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| in Roman legend, two sets of triplet brothers whose story was probably fashioned to explain existing legal or ritual practices. The Horatii were Roman and the Curiatii Alban, although the Roman historian Livy wrote that some earlier accounts had reversed this order. During the war between Rome and Alba Longa in the reign of Tullus Hostilius (traditionally 672-642 BC), it was agreed that settlement of the dispute should depend on the outcome of combat between the two groups of brothers |
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| was an influential French painter in the Neoclassical style, considered to be the preeminent painter of the era. In the 1780s his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward a classical austerity and severity, heightened feeling[1] chiming with the moral climate of the final years of the Ancien Régime. |
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| is the name given to Western movements in the decorative and visual arts, literature, theatre, music, and architecture that draw inspiration from the "classical" art and culture of Ancient Greece or Ancient Rome. One such movement was dominant in Europe from the mid-18th to the 19th centuries. |
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| was an artistic, literary and intellectual movement that originated in the second half of the 18th century in Europe, and gained strength in reaction to the Industrial Revolution.[1] In part, it was a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature.[2] It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography,[3] education[4] and natural history.[5] |
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| is a French term referring to some of the celebrated pursuits of the idle, rich aristocrats in the 18th century—from 1715 until the 1770s. After the death of Louis XIV in 1715, the aristocrats of the French court abandoned the grandeur of Versailles for the more intimate townhouses of Paris where, elegantly attired, they could play and flirt and put on scenes from the Italian commedia dell'arte. The term translates from French literally as "gallant party". It is closely related to, and may be considered a type of, fête champêtre. |
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| was the traditional trip of Europe undertaken by mainly upper-class European young men of means. The custom flourished from about 1660 until the advent of large-scale rail transit in the 1840s, and was associated with a standard itinerary. It served as an educational rite of passage. Though primarily associated with the British nobility and wealthy landed gentry, similar trips were made by wealthy young men of Protestant Northern European nations on the Continent, and from the second half of the 18th century some South American, United States and other overseas youth joined in. The tradition was extended to include more of the middle class after rail and steamship travel made the journey less of a burden, and Thomas Cook made the "Cook's Tour" a byword. |
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| called the Boston Riot by the British, was an incident on March 5, 1770, in which British redcoats killed five civilian men. British troops had been stationed in Boston since 1768 in order to protect and support crown-appointed colonial officials attempting to enforce unpopular Parliamentary legislation. Amid ongoing tense relations between the population and the soldiers, a mob formed around a British sentry, who was subjected to verbal abuse and harassment. He was eventually supported by a small company of troops, who were assaulted by verbal threats and thrown objects. They fired into the crowd, apparently without orders, instantly killing three people and wounding others. Two more people died later of wounds sustained in the incident. |
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| were male triplets from Rome. During a war between Rome and Alba Longa during the reign of Tullus Hostilius (approx. 672-642 B.C.), it was agreed that settlement of the war would depend on the outcome of a battle between the Horatii and the Curiatii. The Curiatii were male triplets from Alba Longa and of the same age as the Horatii. |
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| is a form of artistic decoration consisting of "surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines,[1] often combined with other elements. Within the very wide range of Eurasian decorative art that includes motifs matching this basic definition the term "arabesque" is used consistently as a technical term by art historians to describe only elements of the decoration found in two phases: Islamic art from about the 9th century onwards, and European decorative art from the Renaissance onwards. |
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| was a Swiss-born physician, political theorist, and scientist best known for his career in France as a radical journalist and politician during the French Revolution. His journalism was renowned for its fiery character and uncompromising stance toward "enemies of the revolution" and basic reforms for the poorest members of society. Marat was one of the more extreme voices of the French Revolution, and he became a vigorous defender of the sans-culottes; he broadcast his views through impassioned public speaking, essay writing, and newspaper journalism, which carried his message throughout France |
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| French for “exhibition of rejects” (French pronunciation: [salɔ̃ de ʁəfyze]), is generally an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863. |
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| means "advance guard" or "vanguard".[1] The adjective form is used in English to refer to people or works that are experimental or innovative, particularly with respect to art, culture, and politics. |
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| of painters were part of a movement towards realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870. It takes its name from the village of Barbizon, France, near Fontainebleau Forest, where the artists gathered. |
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| was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas.[1][2] Expressionist artists sought to express meaning[3] or emotional experience rather than physical reality.[3][4] |
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| Louis Jacques Mande Daguerre |
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| was a French artist and physicist, recognized for his invention of the daguerreotype process of photography. |
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was a British photographer. She became known for her portraits of celebrities of the time, and for photographs with Arthurian and other legendary themes.
Cameron's photographic career was short, spanning eleven years of her life (1864–1875). She took up photography at the relatively late age of 48, when she was given a camera as a present.[1] Although her style was not widely appreciated in her own day, her work has had an impact on modern photographers, especially her closely cropped portraits. Her house, Dimbola Lodge, on the Isle of Wight is open to the public. |
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| is the quality of greatness, whether physical, moral, intellectual, metaphysical, aesthetic, spiritual or artistic. The term especially refers to a greatness beyond all possibility of calculation, measurement or imitation. |
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| art movement (meaning “middle way” or “happy medium”) is a term originally used to describe a form of painting and philosophy that reconciled two dominant art movements in 19th century France between the conservative, academic artists and the independent artists known as the Impressionists. |
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| is a term used for the imitation or depiction of aspects of Eastern cultures in the West by writers, designers and artists, as well as having other meanings. In particular, Orientalist painting, depicting more specifically "the Middle East including North Africa",[1] was one of the many specialisms of 19th century Academic art. |
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| was a mid-19th century American art movement embodied by a group of landscape painters whose aesthetic vision was influenced by romanticism. The paintings for which the movement is named depict the Hudson River Valley and the surrounding area, including the Catskill, Adirondack, and the White Mountains; eventually works by the second generation of artists associated with the school expanded to include other locales. |
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| The pulling down and building up anew of streets and cities, as Baron Haussmann remodelled Paris. In 1868 he had saddled Paris with a debt of about twenty-eight millions |
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| is an international philosophy[2] and style of art, architecture and applied art—especially the decorative arts—that were most popular during 1890–1910.[3] The name "Art Nouveau" is French for "new art". It is known also as Jugendstil, pronounced [ˈjuːgn̩tʃtiːl ], German for "youth style", named for the magazine Jugend, which promoted it, and in Italy, Stile Liberty from the department store in London, Liberty & Co., which popularised the style. |
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| is a philosophical approach, theory, or system based on the view that, in the social as well as natural sciences, sensory experiences and their logical and mathematical treatment are together the exclusive source of all worthwhile information. Introspective and intuitional attempts to gain knowledge are rejected. Though the positivist approach has been a recurrent theme in the history of western thought from the Ancient Greeks to the present day,[1] the concept was developed in the early 19th century by the philosopher and founding sociologist, Auguste Comte.[2] |
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| In English, the borrowed Italian word impasto most commonly refers to 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 or painting-knife strokes are visible. Paint can also be mixed right on the canvas. When dry, impasto provides texture, the paint appears to be coming out of the canvas |
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| was the first commercially successful photographic process. The image is a direct positive made in the camera on a silvered copper plate. The raw material for plates was called Sheffield plate, plating by fusion or cold-rolled cladding and was a standard hardware item produced by heating and rolling silver foil in contact with a copper support. [2] The surface of a daguerreotype is like a mirror, with the image made directly on the silvered surface; it is very fragile and can be rubbed off with a finger, and the finished plate has to be angled so as to reflect some dark surface in order to view the image properly. Depending on the angle viewed, and the color of the surface reflected into it, the image can change from a positive to a negative. |
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| is the term coined by the British artist and art critic Roger Fry in 1910 to describe the development of French art since Manet. Fry used the term when he organized the 1910 exhibition Manet and Post-Impressionism. Post-Impressionists extended Impressionism while rejecting its limitations: they continued using vivid colours, thick application of paint, distinctive brush strokes, and real-life subject matter, but they were more inclined to emphasize geometric forms, to distort form for expressive effect, and to use unnatural or arbitrary colour. |
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| divisionism / pointillism |
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was the characteristic style in Neo-Impressionist painting defined by the separation of colors into individual dots or patches which interacted optically.[1][2]
By requiring the viewer to combine the colors optically instead of physically mixing pigments, divisionists believed they were achieving the maximum luminosity scientifically possible. Georges Seurat founded the style around 1884 as chromoluminarism, drawing from his understanding of the scientific theories of Michel Eugène Chevreul, Ogden Rood and Charles Blanc, among others. Divisionism developed along with another style, pointillism, which is defined specifically by the use of dots of paint and does not necessarily focus on the separation of colors.[1][3] |
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| was a female slave in an Ottoman seraglio. She was an assistant or apprentice to the concubines and wives, and she might rise in status to become one of them. Most odalisques were part of the Imperial Harem, that is, the household of the sultan. |
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| was coined by French art critic Félix Fénéon in 1886 to describe an art movement founded by Georges Seurat. Seurat’s greatest masterpiece, A Sunday Afternoon on the Island of La Grande Jatte, marked the beginning of this movement when it first made its appearance at an exhibition of the Société des Artistes Indépendants in Paris.[1] Around this time, the peak of France’s modern era emerged and many painters were in search of new methods. Followers of neo-impressionism, in particular, were drawn to modern urban scenes as well as landscapes and seashores. Science-based interpretation of lines and colors influenced neo-impressionists’ characterization of their own contemporary art.[2] Pointillism technique is often mentioned, because it was the dominant technique in the beginning. |
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is a term used by post-Impressionist artists like Paul Gauguin, Émile Bernard and Louis Anquetin to distinguish their work from Impressionism. Earlier, Synthetism has been connected to the term Cloisonnism, and later to Symbolism.[1] The term is derived from the French verb synthétiser (to synthesize or to combine so as to form a new, complex product).
Paul Gauguin, Émile Bernard, Louis Anquetin, and others pioneered the style during the late 1880s and early 1890s. |
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was a French inventor, most noted as one of the inventors of photography[2] and a pioneer in the field.
He is most noted for producing the world's first known photograph in 1825.[3]
Among Niépce's other inventions was the Pyréolophore, the world's first 'internal combustion engine', which he conceived, created, and developed with his older brother Claude, finally receiving a patent on July 20, 1807 from the Emperor Napoleon Bonaparte, after successfully powering a boat upstream on the river Saône.[4] |
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| was a period from the 18th to the 19th century where major changes in agriculture, manufacturing, mining, transportation, and technology had a profound effect on the social, economic and cultural conditions of the times. It began in Britain, then subsequently spread throughout Western Europe, North America, Japan, and eventually the world. |
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| is the style of les Fauves (French for "the wild beasts"), a short-lived and loose group of early twentieth-century Modern artists whose works emphasized painterly qualities and strong colour over the representational or realistic values retained by Impressionism. While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904–1908, and had three exhibitions.[1][2] The leaders of the movement were Henri Matisse and André Derain.[1] |
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| is a cultural movement that began in Zurich, Switzerland, during World War I and peaked from 1916 to 1922.[1] The movement primarily involved visual arts, literature—poetry, art manifestoes, art theory—theatre, and graphic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works. Its purpose was to ridicule what its participants considered to be the meaninglessness of the modern world. In addition to being anti-war, dada was also anti-bourgeois and anarchist in nature. |
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| was a group of German expressionist artists formed in Dresden in 1905, after which the Brücke Museum in Berlin was named. Founding members were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff. Later members were Emil Nolde, Max Pechstein and Otto Mueller. The seminal group had a major impact on the evolution of modern art in the 20th century and the creation of expressionism.[1] |
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| was a French artist whose work is most often associated with the Dadaist and Surrealist movements. Considered by some to be one of the most important artists of the 20th century,[1][2][3][4][5] Duchamp's output influenced the development of post-World War I Western art. He advised modern art collectors, such as Peggy Guggenheim and other prominent figures, thereby helping to shape the tastes of Western art during this period. |
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| was a French writer and poet. He is known best as the founder of Surrealism. His writings include the first Surrealist Manifesto (Manifeste du surréalisme) of 1924, in which he defined surrealism as "pure psychic automatism". |
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| is a Western art movement that borrows visual forms from non-Western or prehistoric peoples, such as Paul Gauguin's inclusion of Tahitian motifs in paintings and ceramics. Borrowings from primitive art has been important to the development of modern art.[1] |
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| is a belief system or religion, postulating the belief that spirits of the dead residing in the spirit world have both the ability and the inclination to communicate with the living. Anyone may receive spirit messages, but formal communication sessions (séances) are held by "mediums", who can then provide information about the afterlife.[ |
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is a cultural movement that began in the early 1920s, and is best known for the visual artworks and writings of the group members.
Surrealist works feature the element of surprise, unexpected juxtapositions and non sequitur; however, many Surrealist artists and writers[who?] regard their work as an expression of the philosophical movement first and foremost, with the works being an artifact. Leader André Breton was explicit in his assertion that Surrealism was above all a revolutionary movement. |
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| was a Spanish expatriate painter, sculptor, printmaker, ceramicist, and stage designer, one of the greatest and most influential artists of the 20th century. He is widely known for co-founding the Cubist movement and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907) and Guernica (1937), a portrayal of the German bombing of Guernica during the Spanish Civil War. |
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| was a 20th century avant-garde art movement, pioneered by Pablo Picasso and Georges Braque, that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Often the surfaces intersect at seemingly random angles, removing a coherent sense of depth. The background and object planes interpenetrate one another to create the shallow ambiguous space, one of cubism's distinct characteristics. |
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| is a large oil painting of 1907 by the Spanish artist Pablo Picasso (1881–1973). The work portrays five nude female prostitutes from a brothel on Carrer d'Avinyó (Avinyó Street) in Barcelona. Each figure is depicted in a disconcerting confrontational manner and none are conventionally feminine. The women appear as slightly menacing and rendered with angular and disjointed body shapes. Two are shown with African mask-like faces and three more with faces in the Iberian style of Picasso's native Spain, giving them a savage aura. In this adaptation of Primitivism and abandonment of perspective in favor of a flat, two-dimensional picture plane, Picasso makes a radical departure from traditional European painting. |
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| was developed only by Picasso and Braque during the winter of 1909-10. It lasted until the middle of 1912, when collage introduced simplified versions of the "analytic" forms. |
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| is a French commune in southeastern France in the départment of the Vaucluse bordered by the left bank of the Rhône river. Of the 94,787 inhabitants of the city on 1 January 2010, 12 000 live in the ancient town centre surrounded by its medieval ramparts. |
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| is the English translation of the German entartete Kunst, a term adopted by the Nazi regime in Germany to describe virtually all modern art. Such art was banned on the grounds that it was un-German or Jewish Bolshevist in nature, and those identified as degenerate artists were subjected to sanctions. These included being dismissed from teaching positions, being forbidden to exhibit or to sell their art, and in some cases being forbidden to produce art entirely. |
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| includes artistic works produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era.[1] The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation.[2] Modern artists experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of art. A tendency toward abstraction is characteristic of much modern art. More recent artistic production is often called Contemporary art or Postmodern art. |
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| is an art movement that emerged in the mid 1950s in Britain and in the late 1950s in the United States.[1] Pop art challenged tradition by asserting that an artist's use of the mass-produced visual commodities of popular culture is contiguous with the perspective of fine art. Pop removes the material from its context and isolates the object, or combines it with other objects, for contemplation.[1][2] The concept of pop art refers not as much to the art itself as to the attitudes that led to it.[2] |
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| sometimes called "gestural abstraction", is a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied.[1] The resulting work often emphasizes the physical act of painting itself as an essential aspect of the finished work or concern of its artist. |
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| is similar to Pointillism. Depending on the effect, color and optical illusion needed, small colored dots are closely spaced, widely spaced or overlapping. Magenta dots, for example, are widely spaced to create pink. 1950s and 1960s pulp comic books used Ben-Day dots in the four process colors (cyan, magenta, yellow and black) to inexpensively create shading and secondary colors such as green, purple, orange and flesh tones. |
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