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1) Human effort to imitate, supplement, alter, or counteract the work of nature
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2) Conscious arrangement or production of sounds, colors, forms, movements or other elements in a way that affects the aesthetic sense: production of the beautiful in a graphic or plastic medium |
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| Systematic Description of the visual elements of the work |
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| Distinctive Arrangement of elements in the work |
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| imagery or symbolism in a work of art or body of work, also the branch of art history concerned with the identification and interpretation of same |
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| Explanation or Attribution of meaning - must be based on visible features of the art work and supported by available external evidence |
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In art, an established practice or device (IE: Heroic Nudity)
A traditional way of representing forms |
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| Image or object that stands for something else |
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Meaning in cultural context (Do not confuse subject matter with content! The latter is
much larger than the former.) |
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| totality of socially transmitted behavior patterns, artistic practices, beliefs, institutions, and all other products of human work and thought in a particular time and place |
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surrounding
conditions and circumstances |
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| Vertical stone slab decorated with inscriptions or relief carving |
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| The head is shown in profile, the torso frontally, and the hips and legs in profile. |
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| The use of different sizes for significant or holy figures and those of the every day world to indicate relative importance. The larger the figure, the greater its importance. |
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| A picture that recounts an event drawn from a story, either factual or fictional |
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| What the piece is depicting |
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| spirit or life force (housed in mummy) |
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| An early form of writing with wedge-shaped marks impressed into wet clay with a stylus, used primarily by ancient Mesopotamians |
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| "Man is the measure of all things" |
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| a technique of ancient greek pottery in which black figures are painted on a red clay ground |
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| Mixture of clay and water |
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| a slight swelling of the shaft of a greek column that imparts a sense of energy and upward lift |
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| Colored piece of stone, glass, or ceramic used in making a mosaic |
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| The illusion created on a flat surface in which figures and objects appear to recede or project sharply into space. (Perspective) |
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| In painting, the process of creating the illusion of 3d on a 2d surface by the use of light and shade |
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| Cut stone used for building |
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| A process in art through which artists strive to make their forms and figures attain perfection, based on pervading cultural values and/or their own personal ideals |
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| Figures stand for ideas or concepts |
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| Depicting physical appearance OR Any art that attempts to depict an aspect of the external, natural world in a visually understandable way |
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| Financial supporter of an art work or artist |
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| cup for wine in Eucharist |
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| A picture that expresses or embodies an intangible concept or diea |
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Images borne on icons were
thought to act as intermediaries between worshipers and the holy personages depicted. |
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| A manner of representation that conforms to an intellectual or artistic idea rather than to a lifelike description of natural appearance |
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| The banning and/ord descrution of icons and religious images |
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| Book of Durrow page order |
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| Evangelist's symbol (Peter), Carpet Page (decorative), Incipit (beginning of text) |
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| Four books of the New Testament telling the story of Jesus's life and teachings |
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| Authors of the Gospels (Matthew, Mark, Luke, John) |
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| Derives from the Greek for "bringer of good news" |
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| Symbols of the Evangelists (seen in art) |
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ALOE
Angel or Man - Matthew
Lion - Mark
Ox - Luke
Eagle - John |
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| The curved lips of an ancient greek statue from the period 600-480 BC, usually interpreted as a way of animating facial features. |
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| A set of ideal mathetmatical ratios in art based on measurements, as in the proportional relationships among the basic elements of the human body. |
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| the classical convention of representing standing human figures with opposing alternations of relaxing on each side of a central axis. |
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| Styles in which aspects of a work of art are exaggerated to evoke subjective responses rather than to portray objective reality or seek a rational response |
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| Supported through post-and-lintel |
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| Codex - traditional book. Front is known as recto, back known as verso. Can be reversed if a book is read from right to left instead of left to right. |
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| Illustration in a manuscript |
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| A writing surface made from treated skins of animals. Very fine parchment is known as Vellum. |
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| Room in a monastery housing a workshop for writing or copying manuscripts |
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