art histroy terms

• Italian,
• “smoky.” A smokelike haziness that subtly softens outlines in
• painting; particularly applied to the paintings of Leonardo da Vinci
• and Correggio

Italian, “colored” or “painted.” A term used to describe the application of paint. Characteristic of 16th century Venetian artists who emphasized the application of paint as an important element of the creative process.

• Italian,
• “drawing” and “design.” The careful design preparation based on
• preliminary drawing. Renaissance artists considered drawing to be the
• external physical manifestation of an internal intellectual idea of
• design.

in drawing or painting, the treatment and use of light and dark, especially the gradations of light that produce the effect of modeling.

• painting
• in the “shadowy manner,” using violent contrasts of light and dark, as
• in the work of Caravaggio. The term derives from tenebroso.

• from
• the Italian “at first.” Used to describe painting directly onto the
• canvas without preliminary underdrawing or underpainting. Working
• direct from the model.

painted mural decorations done in trompe l’oeil, usually depicting architectural subjects.

A term applied to a number of Dutch painters who were strongly influenced by and/or imitated Caravaggio's style in the 17th century

• a
• ceiling design in which painted scenes are arranged in panels that
• resemble framed pictures transferred to the surface of a shallow,
• curved vault. (uses normal perspective)

• a)
• one of several distinguishable stages in the development of an etched
• or engraved plate, each showing a deliberate alteration of the design
• or fresh evidence of wear; b) a print from one of these stages

• a
• term applied to the non-essential small figures and animals employed by
• the artist to animate a painted composition, for example in the
• landscapes produced in the 17th century by Claude Lorrain.

French, “town house”

• a) a style, primarily of interior design, that appeared in France around 1700;b)
• interiors featured lavish decoration, including small sculptures,
• ornamental mirrors, easel paintings, tapestries, reliefs, wall
• paintings, and elegant furniture; c) French, “pebble;” referred to the small stones and shells used to decorate grotto interiors

French, “learned woman;” term used to describe the cultured hostesses of Rococo salons

a princess loved by Cupid; b) a large sheet mirror

french, “amorous festival;” type of Rococo painting depicting the outdoor amusements of French upper-class society

cross-shaped plan, often used in churches

• The Western philosophy based on empirical evidence that dominated the 18th
• century. The Enlightenment was a new way of thinking critically about
• the world and about humankind independently of religion, myth, or
• tradition.

• the
• process of change from an agrarian, handicraft economy to one dominated
• by industry and machine manufacture; began in England in the 18th
• century and from there spread to other parts of the world

• an
• idealized concept of uncivilized man, who symbolizes the innate
• goodness of one not exposed to the corrupting influences of civilization

• painting
• in which the subject-matter is taken from classical, mythological, or
• biblical history. Considered a high form of art, in which a moral story
• is told

• gathering
• of intellectual, social, and political cultural elites under the roof
• of an inspiring host/hostess partially to amuse one another and partly
• to refine their taste and increase their knowledge through
• conversation- also means the room where this activity took place.

originally an upper-class Roman country house, but applied in the 18th century (during Neoclassicism’s interest in revival) to English country houses

the circular area under a dome; also a domed round building

• a) architectural movement which flourished in England ca. 1720-70, taking its inspiration from the 16th-century Venetian architect Andrea Palladio, the chief Renaissance disciple of the Roman architect Vitruvius; b) in general, the free adaption of Imperial Roman architecture to 18th-century
• social needs, with motifs borrowed from Roman public buildings and
• adapted for use in churches, other public buildings, and private houses

• A
• theory of knowledge holding that all concepts are formed through the
• customary or even arbitrary connection of an image or mental idea with
• an object (based on similarity, closeness in space or time, etc.)

representing form, not by means of outline, but by the mingling of light and shade, rendered as indeterminate patches of color

• In
• Romanticism, feelings of awe mixed with terror. The thrill that comes
• from distancing oneself from intense human emotions evoked by pain or
• fear.

• a
• work of art which represents some abstract quality or idea, either by
• means of a single object or figure, or by grouping objects and figures
• together, frequently in an unrealistic way

Western art with picturesque oriental subject matter or oriental influences