art exam 2

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the Catholic church’s response to Luther’s allegations, reminding its followers (and especially those who would follow Luther) the price of abandoning Catholicism
the destruction of religious artworks,in the belief that venerating religious images was idolatry (the worship of objects), and distracting the faithful from the worship of God
“day’s work,” indicated how much of a fresco could be completed in one day – evident in variations of color in sky of Giotto’s Lamentation in the Arena Chapel
articulated masonry in between panes of glass in a single window; becomes thinner and more delicate toward High Gothic era
Greek manner – convention for representing Madonna and Child in centralized composition, the Madonna in blue, child held in her arms, head tilted, and accented with gold
chiaroscuro technique that creates “spotlight” effect – high contrast between deep darks and blinding lights, heightening dramatic impact, associated with work of Caravaggio
Gothic style predicated on the use of right angles and sprawling building mass, with a balance between horizontal and vertical employed instead of relentless verticality of French
three parts, or divided by three, as in Gothic church facades
ongoing debate concerning the primacy of drawing vs. that of painting – often seen as a competition between analytical and spontaneous approaches to art production, or the import
tool used by Early Renaissance artists to create recession of space, but leaves compositional focus in foreground. Objects get smaller and less distinct as they recess into the bac
Gothic style using long, thin window lancets to replace wall surface, as in Sainte-Chappelle
recession of space expressed by perspectival rendering of primary object, as in Andrea Mantegna’s Dead Christ, or Foreshortened Christ.
from the Latin maniera, or hand, a movement that grew as a response to the High Renaissance, featuring technical virtuosity, erudite subject matter, elegant figures, ambiguous spac
tool used by Early Renaissance artists to created a recession of space in a painting. Uses orthogonals, or lines created by a road, railroad, buildings, etc. to lead eye back to a
sometimes shallow niches, sometimes deep, dark crevices, these are spaces included in the apse of a church that serve as sites for relics, small altars, or statues to be venerated
DefinitionWord
Renaissance philosophy that sees the human as an individual, but also a member of secular society – features an increased focus on human values & interests in contrast to merely
religious movement and historical era kicked off by Martin Luther in 1517, when he nailed 95 Theses to the door of Wittenberg Cathedral, PROTESTING the church’s doctrine (like th
printmaking method in which metal plate is incised with image, covered in ink and then wiped, leaving ink in crevices. Paper is laid over plate & run through press; ink absorbed by
– meaning “rebirth,” an era characterized by a growing belief that man can understand, even change his world, without the medieval fear of offending God with his arrogance.
space where nave and transept cross
term denoting features or styles created during Greek and Roman eras.
“light/dark” – refers to the rendering of light and shade in a two-dimensional work of art
church that is also the seat of a bishop
putting subject of image in background
also a feature of Gothic churches, creating higher ceilings and vertical thrust
architectural plan featuring arms of equal length, vs. Latin cross, or cruciform plan (also called basilica) where nave is considerably longer than transept.
sculpture located in portal door frames of church
“smoky” -- a particular approach to chiaroscuro characteristic of Leonardo da Vinci’s work. Figures seem to emerge from a background, and feature smudged, indistinct contours
sharply pointed roof forms
specifically a feature of Gothic churches; buttresses add support to the outside of church walls, and flying buttresses are built so that they stand away from the wall, and attach

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Created Nov 1, 2010ReportNominate
Tags:art, exam