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| the 12th century cleric who initiated the Gothic style by writing proudly of the spiritual meaning of the innovative rebuilding of his abbey church. |
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| a three dimensional work of art constructed by building up material such as clay to achieve the form desired. (example: Rodin's modeled clay and wax sculptures) |
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| the systematic diminution of color in intensity and value contrast as forms recede in space. |
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| a work of art placed on the altar of a church or chapel to identify the holy persons to whom the church is dedicated. (examples:' Cimabues Crucifixion, illustration 3-28; Veneziano's St. Lucy Altar, illustration 6-20) |
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| American Abstract Expressionism |
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| a 20th century style of art which developed after World War II in New York City which made New York the cultural center of the world. (example: Pollock, de Kooning, Gorky) |
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| a 20th century style of art developed by Picasso which created a new abstract form based upon multiple, non-static views of the object. (example: Picasso's Portrait of Ambrose Vollard, Moscow) |
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| a Surrealist method of working in which the artist approaches creating without any preplanned ideas so the subconscious mind might have greater control of the creative process. (example: Miro's The Hunter) |
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| a military term referring to the advanced troops which scout out the area before the deployment of the main army. It came to apply to art in the late 19th and 20th centuries which was so innovative that the general public inevitably rejected the work as poor and tasteless; i.e. ahead of its time. |
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| influential French poet and critic of the mid-19th century who called for the painting of modern life which encouraged the development of avant garde art. |
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| 20th century school of art developed in Germany after World War I by Walter Gropius and others which practiced a modern, scientific approach to art and design. In architecture developed the dictum that form should follow function, which led the glass and steel skyscraper. |
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| Italian Renaissance architect who discovered linear perspective |
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| Characteristic of color which describes the relative purity of a color, i.e. the relative brilliance or dullness of the color. Sometimes also referred to as the color's saturation. |
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| an artwork using actual objects pasted onto the surface of the piece, developed in the Synthetic Cubist style. The term derives from the French word "to paste". |
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| the asymmetrical balance assumed by the human body when weight is on one leg, discovered by the classical Greeks and used by Michelangelo. |
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| the subtle swelling off of a mechanical norm of the forms of classical Greek architecture such as the columns and stylobate of classical temples such as the Parthenon. |
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| the strut, or supporting arch which goes through the air enabling the increased height of the Gothic cathedrals |
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| a watercolor painting done directly into the wet plaster of a wall before the plaster dries so that painted image becomes an integral pan of the wall. |
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| 20th century style of art developed by Umberto Boccioni which incorporated speed into their work as a particularly modern form of beauty |
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| art work which depicts common, everyday subjects without historical significance. |
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| the aspect of color which can be described as a migration around the circumference of the color wheel, i.e. the difference between red, yellow or blue. |
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| 19th century style of an which rebelled against the Neo-Classicism of the Academy and painted modern life, emphasizing color and light as seen directly outdoors. |
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| French image of Christ emphasizing his humanity, placed on the trumeau of the Gothic cathedral entrance, such as at Amiens (illustration 3-27). Literally means 'the beautiful God'. |
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| a style of an which takes an intellectual, historical approach to life and art, and emulates the an of classical Greece and Rome, such as was adopted by the Royal French Academy |
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| the parallel lines in space which appear to converge towards a common vanishing point in a perspective drawing. |
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| a severe image of Christ as the ruler of the universe, emphasizing his divinity, which developed in the Medieval period to correct the Arian heresy which denied Christ's equality with God the Father. |
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| the long, low horizontal triangular gable found at either end of a Greek temple, usually decorated with sculpture. |
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| 19th century style of art which incorporated but went beyond the innovations of Impressionism. |
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| a recent attitude in art disregarding the primacy of the avant garde as the sole arbiter of what is significant, viable style. Accepting of a variety of historical styles. |
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| art work that acknowledges the unseemly aspects of life such as the ugly or banal; the opposite of Idealism. |
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| rebirth of learning, such as took place in the Fifteenth century in Florence and spread throughout Europe. the style of art which this period of rebirth produced. |
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| 19th century style of an which emphasizes a passionate, emotional approach to life and art. |
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| circular window in Gothic cathedrals which symbolizes the Virgin. |
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| art school established by Louis XIV to provide properly trained artists for the court, which became the cultural authority of artistic taste by the 19th century in French Art. |
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| a Renaissance version of the traditional Madonna and Christ Child with saints altarpiece, in which the figures share the same perspective space, rather than being isolated in their own architectural frames as was the case in the medieval altarpieces. |
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| an exhibition of the art work rejected by the Academy in the Salon of 1863 which the artists wanted the public to see to vindicate their innovative ideas which the establishment would not tolerate. |
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| carved or decorated stone coffin, found especially in the Roman and Early Christian era |
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| 13th century monk whose love of nature as God's good creation helped initiate the rebirth of learning which led to the Renaissance in 15th century Italy. |
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| three dimensional work of art constructed by carving or removing material to achieve the form desired. (example: Michelangelo carved marble sculptures) |
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| 20th century style of art was sought to make use of the Freudian concept of the subconscious mind |
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| 20th century style of art developed by Picasso subsequent to Analytical Cubism which sought to reaffirm the object by using more definite shapes, colors, and actual elements pasted to the piece. |
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| a three-paneled altarpiece. |
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| the arched space over the entrance to Medieval churches, usually decorated with sacred images. |
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| characteristic of color which describes its relative darkness or lightness. |
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