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| The way in which an artist organizes form in an artwork, either by placing shapes on a flat surface or by arranging forms in space |
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| Italian for drawing and design, Renaissance artist considered drawing to be external physical manifestation of an internal intellectual idea of design |
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| A smokelike haziness that subtly softens outlines in painting; particularly applied to the painting of Leonardo and Correggio |
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| In the Renaissance, an emphasis on education and on expanding knowledge, the exploration of individual potential and a desire to excel, and a commitment to civic responsibility and moral duty |
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| Painting on lime plaster, either dry or wet, in the latter method, the pigments are mixed with water and become chemically bound to the freshly laid lime plaster. Also, a painting executed in either method |
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| Powerful Florentine family from the 13th to 17th century, includes 3 popes, and members of French and English royalty |
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| Creates the illusion of distance by the greater diminution of color intensity, the shift in color toward an almost neutral blue, and the blurring of contours as the intended distance between eye and ovject increases |
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| The most common type, all parallel lines or surface edges converge on one, two or three vanishing points located with references to the eye level of the viewer, and associated objects are rendered smaller the farther from the viewer they are intended to seem |
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| The point on which all orthogonal lines converge in a composition employing one-point perspective |
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| A line imagined to be behind and perpendicular to the picture plane; the orthogonals in a painting appear to recede toward a vanishing point on the horizon |
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| The depiction of the three-dimensional spatial world on a two-dimensional surface |
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| Nude male figures on the ceiling of the sistine chapel that are meant to frame the smaller images and represent the energy of youth |
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| The pope in the early 15 hundreds, was a patron of the arts, got Michelangelo to paint the ceiling of the sistene chapel |
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| a term from the Italian Renaissance meaning one form of art is superior to all others |
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| The art or an instance of making portraits |
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| A picture depicting an arrangement of objects |
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| A picture showing natural scenery, without narrative content |
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| A blanket designation for the art of the period 1600 to 1750 |
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| Reform movement beginning in 1517 that attempted to reform the Catholic Church |
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| Sometimes called the Catholic Reformation, the reform by religious life and spiritual foundation focusing on devotion life and personal relationship with Christ |
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| A flat, rectuangular, vertical member projecting from a wall of which it forms a part. It usually has a base and a capial and its often fluted |
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| Italian, "plaza" or "square", an open-air public space |
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| In drawing or painting, the treatment and use of light and dark, especially the gradations of light that produce the effect of modeling |
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| Painters who imitated the style of Caravaggio in the early 17th century |
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| Pigment mixed with oil. Oil paint dries more slowly than tempera, allowing the painting to lay down the color in traslucent layers |
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| A technique of painting using pigment mixed with egg yolk, glue, or casein |
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| A three-paneled painting or altarpiece |
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| A late-19th century movement based on the idea that the artist was not an imitator of nature but a creator who transformed the facts of nature into a symbol of the inner experience of the fact |
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| Human capacity for reason (?) |
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| Place where officially taught art, hierarchy of genres discussed here |
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| Paintings that depict great historical scens that are meant to have moral significants considered must valuable genre by royal academy |
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| Place where art displayed, public comes from all over Paris |
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| Renewed interest in Classical culture |
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