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| Deep insight into the meaning or purpose of things. |
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| An early camera device used in the Renaissance. It was made from a dark box with a hole in one side, the camera operates when bright light shines through the hole, casting an upside-down image of an object outside onto the inside wall of the box. |
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| French word denoting the artists or concepts that were strikingly new, experimental, or radical for the time. |
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| French term meaning “in the open air” describing the Impressionist practice of painting outdoors so artists could have direct access to the fleeting effects of lighting and atmosphere while working. |
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| Thickly applied paint that gives a three-dimensional surface quality to a painting. |
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| Is a technique of painting in which small, distinct dots of pure color are applied in patterns to form an image. |
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| Term used by post-impressionist artists to distinguish their artwork from impressionism. Focused on the outward appearance of natural forms, the artist’s feelings, and the purity of line, color, and form. |
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| Work of art aiming to evoke subjective emotions rather than to portray reality. |
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| Color that has no realistic or natural relation to the object that is depicted. |
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| Technique in which cutout paper forms or found materials are pasted onto another surface. |
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| An object from popular or material culture without further manipulation as an artwork by the artist. |
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| Public decoration of principles and intentions, often political in nature. |
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| Automatic Writing (Automatism) |
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| A technique whereby the usual intellectual control of the artist over his or her brush or pencil is forgone. The artist’s aim is to allow the subconscious to create the artwork without rational interference. |
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| Adjective to describe forms that resemble shapes found in nature. |
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| An artwork created by gathering and manipulating two and/or three-dimensional objects found. |
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| Art developed in the 1960’s incorporating performance, theater, and visual images. It was organized without a specific narrative or intent. |
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| Term used to describe an artist’s practice of borrowing from another source for a new work of art. |
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| A sculpture designed and commissioned for a particular spot. |
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| Practice that focuses on human values and concern. |
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| Approximate representation, on a flat surface, of an image as it is seen by the eye. |
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| Parallel lines not parallel to the image plane appear to converge. |
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| Lines that point towards the vanishing point. |
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| The effect the atmosphere has on the appearance of an object as it is viewed from a distance. |
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| The contrast between light and dark |
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| To vanish or to shade. The finished product has lighter darks and darker lights, like a veil of smoke was between the painter and the viewer. |
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| Extreme contrasts of light and dark. Caravaggio is credited with the invention of the style. |
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| Martin Luther started the protestant revolution, which was a movement that established Protestantism and a branch of contemporary Christianity. |
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| Period of time when the Catholic Church ended an effort to respond to the protestant reformation to gain credibility. |
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| A curved architectural element that spans an open space. |
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| Series of arches, carried by columns or piers and supporting a common wall. |
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| Wedge shaped stone blocks used to build an arch. |
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| Junctions of a groin vault. |
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| Concave triangular section of a vault that forms the transition between a square space and the circular base of a dome. |
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| A writing surface made from treated skins of animals. |
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| Central aisle of a basilica. |
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| Manuscript in which the text is supplemented by teh addition of decoration. |
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| An image in any material representing a sacred figure or event in the Byzantine, and later Orthodox, Church. |
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| The intersection of two barrel vaults. |
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| An elongated or continuous semicircular vault. |
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| A large sheet of paper, which, when folded and cut, becomes four separate or parchment pages in a book. |
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| Topmost zone of a wall with windows in a basilica extending above the aisle roofs. Provides direct light into the central interior space. |
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| A combination of Ionic and the Corinthian orders. |
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| A large rectangular Christian Church. |
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| A large semicircular niche protruding from the end wall of a church. This is where the altar is located. |
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| Passage or open corridor of a church that parallels the main space, usually on both sides, and is delineated by rows. |
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| In Mesopotamia, a tall stepped tower of earthen materials, often supporting a shrine. |
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| hen you are viewing an art form (mainly a character) the upper half of the body is in a frontal pose (facing forward), while the lower half is in profile view |
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| A stone slab placed vertically and decorated with inscriptions or reliefs. |
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| An architectural system of construction with two or more vertical posts, supporting a horizontal lentil. |
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| The enclosed hall of a Greek or Roman temple, found in front of the cella and marked by a row of columns at the entrance. |
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| A colonnade (row of columns) surrounding a building or court. |
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| A highly stylized depiction serving serving as a symbol for a person or object. |
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| A flat-topped, one story building with slanted walls over an ancient Egyptian underground tomb. |
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| is a large stone that has been used to construct a structure or monument, either alone or together with other stones. |
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| An archaic Greek statue of a young man or boy. |
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| An archaic Greek statue of a young woman. |
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| Twisting body position. A way of representing the human body so that its weight appears to be borne on one leg. |
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| A roofing and arching technique in which each course of stone projects inward and slightly beyond the the previous layer until the uppermost corbels meets. (Ex. The inside stone of an arch). |
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| Established rules or standards. |
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| One of the foremost architects and engineers of the Italian Renaissance. |
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| First Roman emperor to convert to Christianity. Changed the capital of Byzantine to Constantinople. |
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| Greek sculptor of bronze. Considered the most important sculptor of the classical era. |
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| Art of Ancient Greece or Ancient Rome. Neoclassicism is essentially an art of an ideal—an artist, well schooled and comfortably familiar with the canon. |
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