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| In early Greek pottery, the silhouetting of dark figures against a light background of natural, reddish clay, with linear details incised through the silhouettes. |
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| A pointed tool used for engraving or incising. |
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AKA Twisted Perspective
A convention of representation in which part of a figure is shown in profile and another part of the same figure is shown frontally. |
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| The way in which an artist organizes forms in an artwork, either by placing shapes on a flat surface or arranging forms in space. |
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| A circle of monoliths. Also called henge. |
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| Images, materials, or objects as found in the everyday environment that are incorporated into works of art. |
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| In paintings and reliefs, a painted or carved baseline on which figures appear to stand. |
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| To cut into a surface with a sharp instrument; also, a method of decoration, especially on metal and pottery. |
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| A beam used to span an opening. |
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| The material (for example, marble, bronze, clay, fresco) in which an artist works; also, in painting, the vehicle (usually liquid) that carries the pigment. |
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| reek, “great stone.” A large, roughly hewn stone used in the construction of monumental prehistoric structures. |
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| The “middle” Stone Age, between the Paleolithic and the Neolithic ages. |
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| A column shaft that is all in one piece (not composed of drums); a large, single block or piece of stone used in megalithic structures. |
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| The “old” Stone Age, during which humankind produced the first sculptures and paintings. |
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| In later Greek pottery, the silhouetting of red figures against a black background, with painted linear details; the reverse of black-figure painting. |
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| In sculpture, figures projecting from a background of which they are part. The degree of relief is designated high, low (bas), or sunken. In the last, the artist cuts the design into the surface so that the highest projecting parts of the image are no higher than the surface itself. |
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| A pair of monoliths topped with a lintel; found in megalithic structures. |
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