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admirable quality of seemingly effortless grace and natural elegance. The desired effect of nonchalance and charming spontaneity can only be achieved through rigorous practice and constant rehearsal. Applied to artistic practice, the term suggests an (apparently) effortless resolution to a difficult challenge.
ex.: Da Vinci, Mona Lisa, 1503 |
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Italian word meaning smoky, used to describe very delicate, soft gradations of light and shade in the modeling of figures;
ex.: Da Vinci, Mona Lisa, 1503 |
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| organization of lay people created for the purpose of promoting special works of Christian charity or piety, and approved by the Church hierarchy |
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figures often in a spiral pose.
ex. Raphael, Galatea, 1513 |
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Italian term for the anonymous nudes used decoratively in painting or sculpture
ex.: Michaelangelo, Sistine Chapel, 1508 |
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Italian term for "sacred conversation"; in art, the non-narrative depiction of the Virgin and Child flanked by saints, sharing a single pictorial space.
ex. Giorgione, Castelfranco Madonna, 1504 |
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(Florentine) composition, perspective, and the delineation and definition of depicted objects through outline. Appealed to Rational mind.
ex. Michaelangelo, Battle of Cascina, 1504 |
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(Venitian). Colore refers specifically to both color and a clearly evident application of paint
ex. Giorgione, The Tempest, 1503 |
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The manner in which a painting is made, especially the handling of paint. This term is usually used when referring to a work of art with very apparent brushwork.
ex.: Rembrandt, Self-portrait as a Painter, 1665 |
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Historia = story
poesia = lacks clear narrative structure
ex.: Poesia = Giorgione, The Tempest, 1503 |
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bacchus = roman god of wine and intoxication
bacchanalia = bacchus' festivals and parties
ex. Titian, Bacchanal, 1518 |
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a companion of the god of wine
ex. Titian, Bacchanal, 1518 |
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"large case" or "large chest," referring to carved and painted chests used to hold clothing, often given as gifts to a prospective bride for her dowry by her future husband.
ex. Titian, Venus of Urbino, 1538 |
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high-class, expensive prostitute
ex. Titian, Venus of Urbino, 1538 |
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| the damaging or destruction of representational imagery, usually of religious subject matter, on moral or religious grounds |
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| reformation/counter-reformation |
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reformation:The religious movement in the early sixteenth century which began as an attempt to reform the abuses of the Catholic church
counter-reformation
counter-reformation: movement of self-renewal and reform within the Roman Catholic church in response to the Protestant Reformation
ex.: Bosch, Haywain Triptych, 1510 |
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he dramatic contrast of light and dark in painting to create effects of three-dimensionality
ex. Rembrandt, Bathsheba, 1654 |
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true image
ex: Durer, Self-Portrait, 1500 |
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Four humors: choleric, sanguine, melancholic, phlegmatic
associated to attributes
sanguine = blood; choler = angry; bile = melancholic; phelgm = phlegmatic/composed
ex. Durer, Adam and Eve, 1500 |
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| burin/copperplate/engraving |
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A print made by cutting a design into a metal plate (usually copper) with a pointed steel tool known as a burin
ex. Durer, Melencholia I, 1514 |
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The platform on which an altarpiece is set, often decorated with narrative sculpture or painting relating to the main subject of the altarpiece
ex. Grunewald, Isenheim Altarpiece, 1510 |
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painting of everyday life scenes
ex. Vermeer, Woman Holding A Balance, 1664 |
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contain idols, relics, or other such objects associated with the figure being venerated
ex.: Grunewald, Isenheim Altarpiece, 1510 |
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wayfarer-represent the average person
ex. Bosch, Haywain Triptych, 1510 |
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| temptation of st. anthony |
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concerning the supernatural temptation reportedly faced by Saint Anthony the Great during his sojourn in the Egyptian desert
ex. Grunewald, Temptation of St. Anthony |
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when the rebel angels fell from the heavens
ex. Bosch, Haywain Triptych, 1510 |
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lust, greed, sloth, anger, pride, envy, gluttony
ex. Bosch, Haywain Triptych, 1510 |
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having shape of human; deadly sins portrayed in art as anthropomorphic
ex. Bosch, Haywain Triptych, 1510 |
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world shown in reverse order; humans become the hunted (hunted by devils)
ex. Bosch, Haywain Triptych, 1510 |
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self help book, art of dying well, tells people to repent before death
ex. Bosch, Death and the Miser, 1500 |
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artists are producing works of arts without someone commissioning them with the speculation that someone will buy them
ex. Aertsen, Christ in the House of Martha and Mary, 1552 |
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miraculous food of God, found by Aaron (Moses' brother) food of god vs word of god
ex. Aertsen, Christ in the House of Martha and Mary |
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t is a term related to stage displays/plays in which arguments would be presented allegorically. In the case of Aertsen's painting, the foreground presents a problem whereas the background presents the solution
ex. Aertsen, Christ in the House of Martha and Mary, 1552 |
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rich merchant, sponsored works of Bruegel
ex: The Months works by Bruegel |
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a stick with a soft leather or padded head, used by painters to support the hand that holds the brush.
Rembrandt, Self-Portrait as a Painter, 1665 |
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renowned painter in ancient Greece, known for winning his competition of drawing perfect circle free hand
ex. Rembrandt, Self-Portrait as a Painter, 1665 |
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muse of history (attribute = map)
ex. Vermeer, Allegory of Painting, 1665 |
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An ancestor of the modern camera in which a tiny pinhole, acting as a lens, projects an image on a ground-glass wall of a box. Everything outside projection is unfocused.
ex. Vermeer, Allegory of Painting, 1665 |
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painted with less focus and clarity; what is out of focus
ex. Velasquez, Las Meninas, 1659 |
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painted with detail and focus; main focus of painting
ex. Velasquez, Las Meninas, 1659 |
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different categories of art
(portraits, still-life, narrative, religious, speculative) |
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very intense form of chiaroscuro
ex. Carravaggio, Calling of St. Matthew, 1599 |
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princess
ex. Velasquez, Las Meninas, 1656 |
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creates darker part on paper; creating shadow and highlights
ex. Durer, Self-Portrait, 1500 |
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